renjer

Okay, since I'm still new to quoting and all this, I'll just have to copy and paste. "Your subject should start in the 3rd beat of the measure. It's a matter of writing, but quite imortant." I don't really understand this, can you please explain more? Does this mean having a rest in the first beat isn't a good practice? "Be careful in your counterpoint, as you're writing many paralel 5ths, 4ths and octaves. In writing in a traditional style, you must avoid the direct movement to perfect consonanses (5th, 4th, 8th, unison)." I understand the problems with parallel 5ths and octaves, but so far I have not heard of any restrictions regarding parallel 4ths. Also, when you say "avoid direct movement to perfect consonances" what do you mean? "You start on a high A, then makes the answer a 11th apart. Considering that the A is the III degree of the F#m key, then the answer should be on the III degree of the domiant key (C#m), which is E. You did it well, but an octave lower. It should be on the E of the last upper space. I know it's above the soprano (and you should try to avoid crossing voices for now), but you have a descending subject and descending order of voice-entry. It can be a problem if you don't know how to deal with it well. For now you could: (1) change your subject so that it doesn't end on a note lower than the starting note of the following entry; or (2) change the entry order of the exposition (maybe from bottom to top)." I read something about the fugue answer being in the dominant, but somehow I could not start the answer on high E above high A, and had to transpose down an octave. I guess I would have to look at more ways to modify the subject. "Your 3 entries follow a weird order: you start with the soprano (apparently), then goes to the alto but the soprano lowers the register so that it starts to sound like an alto (and the alto like a tenor). Then you have a 3rd entry on the same register of the first one. Which one is the soprano, the 1st or the 3rd?" I still have much to learn about voicings. Thanks for your suggestions anyway, I have not actually listened to Bach, and just came up with this to train myself in the use of counterpoint. As to my background, I only had Grade 8 ABRSM music theory knowledge with me, most of all these new things I learnt now I read them online (eg composing fugues). I wonder if there is a book on fugues that I could read about? Most of the books out there are on counterpoint.

I have been reading quite a bit about fugues lately, so decided to write one. What do you think? P.S. I find it difficult to keep the distance between the alto and bass voice to less than an octave, is this a requirement? Fugue in F# - Full Score.pdf Fugue in F#.mid

Thanks for your replies, I'll try out the suggestions then post again if I have problems :)

As requested, a short sample of my piece. I don't really know if this constitutes a "sentence", as always the main theme is easy to write for (due to repeats), it's probably the "transition into F#" that doesn't flow well. What do you think? A minor theme.wav

I had once composed a trio in the past in Cubase, and I played it back and realised that my ideas are very disjointed. Then I had not composed for a few years until recently, when I decided to compose some solo piano pieces. However, I still could not manage to link my ideas coherently. What I mean is, for example, in a Sonata, I could not compose music that could lead the listener smoothly from the first theme to the transition, and to the second theme. What would you do when you encounter "disjointed music", if you don't mind me asking?

Hi what do you mean by "episodes"? I'm still new to compositions in general.

Hi I'd like to know how to make a certain piece unfold logically. Nowadays I am overloaded with ideas as some music will begin playing in my head and I will want to get them down. Unfortunately, after I manage to compose some music, I then hit the "Play" button in my software and I realise that the piece does not sound as what I have been hearing, i.e. it doesn't unfold logically. Somehow the parts feel very disjointed from each other. How can I avoid this problem? Also in a piece of music eg sonata, how many themes/motives are typically used? Thanks.