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Please at least post the other movements! 🙏

What a calming oriental theme, and the sections are in contrast of caracter, I will like it to be more frecuent in modulation from 4:00 ahead, but you indeed modulate so thats nice 🙂. Also very beautifull culminating harmonies near the end at 7:00.

@PeterthePapercomPoser Yea i wasnt sure what to do with the percussion, Im not a good percussion writer lol

I don't think I had heard this work, mea culpa. It's fantastic that you have this ability to organize large format works. And even more so with combinations as difficult as this one. The tonality seems to me a bit unusual for a string ensemble. Is there a reason for this choice? Then I see that it modulates to C, it seems to me, a noticeable but very nice change. I find the treble string work hypnotic and when combined with other lines below even more so. Some of the double bass entries are powerful. The part where he modulates again (J) and the instruments dialogue is also very nice. To me it resonates with certain contemplative styles of Nordic and Baltic composers, as well as some P. Glass-like technique. A great work.

Since I'm a little late, enough has already been said about the work. But I reiterate that it is a pleasure to hear it played. What I emphasize is something that I always notice and I find important and that is the coherence and the discourse. That is to say, that the work as a whole sounds orderly and with the appropriate transitions. And in this case it seems to me to be a model. The initial (and final) part seems to me very dynamic and well constructed as "looking forward". I like that it has room for all kinds of textures. There are thick textures but others are simple imitative lines or in counterpoint. It's funny how when you use those simple lines you don't lose any strength. I think the transition to the trio is great and it is a very appropriate contrast, different but not out of that coherence. A pleasure to listen to it.

I like this piece! I like the fact that you end it on the subtonic degree - it has kind of the same function or feel as that of a half cadence. Even though you have repeating ostinatos in this piece, they don't tire out the listener. I think the snare drum and bass drum and some of the percussion some of the time sound like an unnecessary addition. At least the entrance of the percussion could have been delayed a bit. There are definitely march-like sections of the piece which are augmented by the percussion. But before the piece becomes fully march-like, it has a much more delicate vibe. Those are my thoughts. Thanks for sharing!

I think you have a lot of Phrygian chord usage here with all those Bbs. Haha as always when having Musescore auto-generating score! Indeed your choir sounds more like a piano chord with those close chords and octave doubling, but I don't mind at all since I also play piano LoL... But ofc your can go for wider harmonies if you want the passages to be grander at some points.

Yeah I also remember the fugue in that famous Bach's Toccata and Fantasia BWV 565, when Bach has the answer in subdominant G minor rather than dominant A minor: And the default of having the dominant as the answer is getting weaker after Bach too. Or as @Fermata pointed out, only the first portion of the answer is in the dominant but the latter half is instead transposing back to the tonic.

Thank you so much, really useful information and well arranged! As a curiosity, I was following the score for the first solo violin sonata BWV 1001, and the second movement, the fugue, goes like this: I immediately realized that, in here, the answer is not in the dominant key, but in the subdominant (from Gm to Cm). I believe it might have something to do with what we have been talking since, in this case, transposing the subject to the dominant while modifying the D (dominant note of G) for a G (tonic of G) at the beginning of the answer would have resulted in an answer with the following notes: G-G-G-G-G-F-G-E-F. Maybe Bach though this answer would have been extremely dull and decided to answer in the subdominant instead. Thank you all for all the useful information!

Sure! here you go

OK, I believe that with any subject, as I said before, you can find a solution to make a stretto, but sometimes, if you have not thought it through, it is difficult or limited to the first notes, or you can only make two superimpositions. Which is not bad either. I have read @Fermata 's method and it is very good, although I put here something simpler and useful for any subject. The idea is very simple: write, first of all, a subject that is canonical. Normally to the octave, but you can combine intervals. That is to say: we write a canon. Here I leave an example of how to build the canon to achieve three superimpositions (even if not at fixed times), to get the subject.

yes, not sure why i said ensemble

Here's a very basic crash-course I made which discusses the structure of fugal answers from a slightly different point of view.

This is a string quartet, more or less in a Classical style, that I've just finished, after working on it in fits and starts for years. The intention, in part, was to explore the integration of Baroque contrapuntal writing into the Classical idiom, a la late Beethoven. Any comments or criticisms would be most appreciated. Thanks!