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just checked this out and damn the orchestration rocks. Keeps that cute vibe from the original but makes it way bigger and emotional. Solid work!

MP3 Play / pause DDLC Your Reality FINAL 0:00 0:00 volume > next menu DDLC Your Reality FINAL > next PDF Your Reality just checked this out and damn the orchestration rocks. Keeps that cute vibe from the original but makes it way bigger and emotional. Solid work!

Hallo @Frederic Gill! I have read the thread about your „2-part invention in counterpoint“ and since there had already been lively discussions I decided to take a look on another piece which has not got a review yet. I like the motif (or „subject“) which is indeed somewhat „stubborn“ because of its repeated notes (but there are many famous fugues with repeated notes in the subject). And so, your decision to vary the motif sometimes to avoid that repeated notes is quite a good idea. The counterpoint is well chosen rhythmically, giving the entire piece a continuous flow and its „funny“ character. As far as I remember from the other thread, there were some dispute about „parallels“ and „octaves“ which was – also in my opinion – somewhat „overteaching“ (I couldn’t follow all arguments or „issues“ without going into detail too deep), so that I can understand that you’ve deleted most of the posts. But to be honest, after listening to your E minor invention, I can understand what the other commenters meant: Not „parallel octaves“ (or „parallel fifth“ as to be avoided in counterpoint generally) are problematic, but only the occurrence of the same note (in an octave) on a strong beat that makes the piece sound something „thin“ at that particular note. This is the case in a two-voice counterpoint only. If you had a third or fourth voice there would be enough harmonic material overall (and that might be the reason that writing a two-part fugue is much more challenging than a three- or four-voice fugue and why there are so few of them). I think, you can solve the problem, for example by varying your counter-motif in that places where it creates the octave. You will then lose the smooth motion at these points and have to insert a leap, but that might emphasize the humorous character of the entire piece!