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Very impressive! I can't really add anything new to the superlative comments others have posted above... A very emotional and expressive work which was quite an enjoyment to listen to! May I ask what your technique was to achieve six-part counterpoint with such an intricate theme? I mean, I've done myself several counterpoint exercises for more than four voices, but always with simple stile antico themes... How did you go about working out this complicated subject?

Revision of an old exercise of mine composed on a given subject while experimenting in counterpoint in more than four parts.

Thanks for the comments! That final cadence has a strong plagal flavour (my original version had a much more straightforward g min - D maj progression there), I'm personally unable to hear it as not giving satisfactory closure. Back at university my fugal training was based predominantly on the French system (see for example Gedalge's treatise) according to which episodes are considered as developmental parts unlike the Baroque practice where they're just transitional parts, hence my different approach. I understand your point, though, I'll try to keep an eye on this next time when making another fugue from scratch. Thanks!

A four-part fugue for composed upon a given subject (it was originally written in SATB open score). The slurs are only meant to indicate phrases. Had fun with designing the episodes but I'm still not quite satisfied with them.

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

If it's of any help, I've just made a tutorial on how to design subjects for tonal fugues that allow canonic stretti.

There are actually two kinds of stretti: a) the real or canonic stretto where the subject goes on in full while the answer is sounding; b) and the false stretto where the subject is continued in free counterpoint right after the entry of the answer. You can compose a false stretto with any subject you create. As for a canonic stretto you first have to create a subject which is suitable to be worked out as an actual canon with very close entrances.

Done! Thanks for the suggestions!

Thank you for the reply! It's quite amusing (in a positive sense) that you found the entries of the subject few in number as I deliberately tried to avoid re-introducing them at every modulation - I guess it's due to my training which didn't rely heavily on Bachian procedures . As for adding the inversion it might be quite a good idea - I've just tried it how it sounds and it does seem to work rather well, both strict and free! As this was originally an exercise sketched out in SATB open score with no particular instruments in mind I didn't consider these issues big at that time but I think you're right - I'll bear your comments in mind when trying to make real music.

Revision of one of my old contrapuntal exercises for a small ensemble. The subject was given. The slurs in the score are only meant to indicate phrases. Still needs some tweaking.

(I'm surprised my account still works - the site looks somewhat different now) Revision of an old (non-Baroque) scholastic fugue of mine written originally for unspecified instruments. The subject (what you can hear in the first 4 measures) was given; I worked it out in four parts, with one single invertible countersubject.

It's really nice and the part-writing is very good. There are some parallel 8ves in the trio (which are not very easy to notice, though), like m. 5 two B flats in basso & alto, or m. 7 Bb-Eb between the 2nd and 3rd beat of the basso & soprano etc.

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Done. Sorry for not having seen it earlier; I haven't visited the site for ages.

Here in (Central) Europe, most of these clefs are still taught during solfeggio lessons within the frames of secondary & higher music education (not mentioning the academic level). I vividly remember being tormented by tasks like sight-reading 2 or 3-part exercises with one voice sung and the remainder played on piano, each staff written in different clefs (excluding treble and bass). The French G- and the subbass clefs are the only ones that are apparently absent from our textbook materials - I've never seen them being used anywhere in school practice. Up to the early 90's, there even used to be a funny clef called 'do-clef', solely for didactic purpose, that looked like a withered C-clef which designated the place of the tonic degree of the major scale in concordance with the key signature, and which could be placed anywhere on a staff (~both on line and space). Back to the topic, often I cannot avoid reading the soprano, alto and tenor clefs due to the fact that a good many of the old music theory books (on counterpoint, for instance) use them.