Fermata

I've marked the errors with red (see the score below). It shouldn't take much time to revise them 🙂 Those recommendations that Henry suggested above should also be incorporated to get the most out of this piece.

It's a huge improvement compared to the previous piece! Can you update the PDF so it matches the audio?

Thanks for the comments! It was originally composed in SATB open score format with no particular instruments in mind. I was pondering whether to adapt it for a string quartet or piano, and eventually decided on the latter due to the character of the subject. If I had rewritten it for piano solo, I would have had to sacrifice some of the contrapuntal texture for the sake of playability. The two-piano solution seemed to be more 'safe'. Also, I tried to arrange the music in a way that the subject entries are alternately played by the two instruments. Thanks! In my opinion, composing developmental episodes is the hardest aspect of fugue writing (at least this is the part I spend the most time on); I'm glad you found them satisfactory. :-)

Revision of a fugue I wrote several months ago, transcribed here for two pianos. I found the subject to be somewhat challenging due to its chromatic nature. Had lots of fun with the stretti.

I've marked most problematic parts (see the attachment)

There are several contrapuntal issues that need to be corrected (I can annotate them in your score if you wish, but mind you, there are many). Personally, I don't think it's a good idea to jump straight into fugues after a few exercises in 1st-species counterpoint as the gap between the two is huge. You should at least get into florid counterpoint, invertible counterpoint and imitations in minimum two parts before attempting fugal writing at all. As for the structure of your fugue... The disposition is basically good (just make sure you don't exceed the range of any voices). I suggest consulting examples no. 891 and 892 from Albrechtsberger's book (I guess you're somewhat familiar with his textbook) - you may want to analyse them (mark the subjects, answers, possible countersubjects, the keys the theme modulates to, stretti etc.).

The last one is quite good! The cantus firmus with the alteration (marked with *) is actually better than the original.

Using octaves (or unisons) in 2-part counterpoint give very incomplete harmonies that's why they're not used except for the 1st and last measures. A battuta occurs when you approach an octave in contrary motion from an interval larger than an octave - it has been considered unelegant compared to approaching octaves from the "inside".

I've checked the first page and the last four exercises, see the attachment below. There aren't really any serious technical problems, though. If something is not entirely clear, feel free to ask.

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.