Fugax Contrapunctus

To highlight a few key differences between either piece, in Chopin's prelude the melodic contour seeks minimalism in a way that balances out the listener's focus and allows the left-hand chords to shine and be heard more clearly. However, in my composition, the melody is most of the time merely a product of the top line of the right-hand chords and while it does produce a distinctive effect due to the rhythmic motif and its characteristic contiguously rising and falling eighth note in the 4th beat of its initial measure, it is not a sufficiently distinctive part to be considered, in my view, integrally alienable from the lower voices or the right-hand chord progression as a whole. Well, some earlier pieces of mine, composed almost exclusively for piano specifically, were mostly focused on styles closer to that of this composition than those of my usual production, such as in this post: https://www.youngcomposers.com/t44435/triwaltzia-no-1 You're correct in pointing out the deviation from my usual style with heavy counterpoint. The title, however, was not actually a strict or entirely accurate stylistic descriptor, and instead it purely serves as an indicator of a particular style I sought to emulate from the Romantic era. It obviously does not account for the entire range of styles and genres that this period in the history of Western classical tradition has to offer, but instead builds an association based on the "vibes" of the music, if I may use such a term. I especially agree with your first line of criticsm: the constant reiteration of the same rhythmic motif ending up producing a far too monotonous, repetitive or boring impression was indeed a concern even before this piece was finished. However, every time I tried to vary the rhythms or change the bass, it felt jarringly sudden and unexpected, breaking pattern in a way that not only was far from subtle, but also completely imbalanced considering the listener's expectations after the first couple phrases. Adding a contrasting B section with an entirely different theme might have solved the issue, but I failed to execute such an option in time before the whole piece was nearly complete. The density of the chords doesn't concern me nearly that much. Reducing the number of internal voices in the middle sections seemed to create the same unexpected vacuum I just described, so as long it doesn't get in the way of the dynamic contrast across the piece I personally see no problem with it, since I'm certain any sufficiently skilled pianist would be able to perform those in spite of the uniform chord density throughout. I'm interpreting what you mean by the bass being "underused" as not providing sufficient rhyhtmic or schematic variety, which could just as easily be referring to the right hand chords, just as in your first point. As for the arpeggios, I disagree with the premise that it is merely an effect: it is integral to the motif across the whole composition. I do understand what you actually mean by that, however: it once again comes back to the original line of criticism. The bars you mentioned were unplayable without additional arpeggios merely included a major 9th and 10th. The 10th in question has been edited to an octave for easier performance with a smaller handspan, even though it is still arpeggiated. However, that doesn't solve the rest of the 10th in the 2nd beat of each measure in that sequence, so sorry in advance to pianists with smaller hands: I must admit feasible playability is still not my main priority (ah, what would I do without the wonders of modern technology...) Anyway, thank you kindly for your review and points of criticism. I will most likely take them into careful consideration when setting myself to write compositions similar to this one.

Thank you for your review. I should point out, however, that the chorus is intended to sound louder in order for the lyrics to be at the very least audible and not drowned by the orchestra, let alone trying to make them sound barely intelligible. I find it optimal since the choir is singing the canon in th exact same configuration as the other instrumental sections: the placement of the voices across different lines and registers is the exact same for all three. And also, there is no brass in the score or audio. This is not intended as a symphonic orchestral arrangement, and I personally dislike the timbre of brass instruments and even some woodwinds such as the saxophone for example, so they are not getting included in the score anytime soon. Have a nice day.

A lighter composition for the early Summer, conceived as an exercise in harmonic development, apoggiaturas and chromatic saturation. Greatly inspired by Chopin's Op. 28 Prelude in E minor. YouTube video link: https://www.youtube.com/watch?v=ZwInFjwKJUo Romantic Prelude in A minor.mp3 Romantic Prelude in A minor.pdf

A revamped and corrected version of a previously published prelude and fugue transposed from F-sharp minor to E minor, originally comprised of two separately uploaded works joined together as neatly as possible. YouTube video link: https://www.youtube.com/watch?v=zMss1kFsid8 Prelude and Fugue in E minor.mp3 Prelude and Fugue in E minor.pdf

As stated in the title, I've been recently experimenting with ways to add more voices to Bach's 14 canons (BWV 1087) based on the multiple contrapuntal transformations of the harmonic bassline of the Goldberg Variations' Aria. Despite being derived from the tonally transposed inversion of that main theme, the so-called "Theme 2" has been kept separate across this whole compendium since it isn't contrapuntally compatible with its inversion when also retrogradated, syncopated or played with "per arsin et thesin" imitation simultaneously. Had the latter not resulted in whole segments of parallel ocatves, an 8-voice "omnibus" canon might have been possible, but that seems to be out of the scope of these musical materials without significant alterations that would render their canonic accompaniment non-imitative and thus, non-canonic at all. There is one canon from the original that is conspicuously absent from this recollection and that is the penultimate, 13th variation: a triple canon a 6 so densely packed and finely tuned in its original conception that adding more voices without irrecognizably altering the basic structure of the others turned out to be practically impossible. Almost like Bach himself knew this one canon, in its apparent simplicity yet brilliantly complex counterpoint, was the worthiest and most perfect when he chose to be depicted holding it for his portrait. Admittedly, this video would have been better suited for this year's 276th anniversary of Bach's passing (July 27th). However, due to my tightly packed schedule this summer, I find it highly unlikely I'll be able to post anything in time to commemorate that date, hence why I'm posting this video as soon as possible in order to leave room for focusing on my final exams. Lastly, it would be short of an understatement to recognize late Gerubach's video on the 14 Canons proved invaluable to my understanding, research and tinkering with these canons, as well as the core material of much of Bach's repertoire as a whole. Some of his most laborious contributions have since been taken down after his passing more tha three years ago now in 2023, such as for example the scrolling video on the Art of the Fugue. The quality of my scrolling certainly doesn't come anywhere close to his standards, and yet, as poor and humble a homage this may be, I have chosen to honor his memory and the tireless spirit of his countless contributions by acknowledging at the very least the gargantuan influence he has had on the accessible spread of Bach's music and its myriad intricacies. YouTube video link: https://www.youtube.com/watch?v=3g00QMPNDyY Google Drive folder link (full score + audio): https://drive.google.com/drive/folders/1J8NblMrM6T-3muEjVO4j8TKspVfyzDuk?usp=sharing J. S. Bach's 14 Canons BWV 1087 Vocibus Pluribus Additis.mp3 J. S. Bach's 14 Canons BWV 1087 Vocibus Pluribus Additis.pdf

Since today is this year's Mother's Day, I finally decided to finish revamping a composition I had already published for the very same occasion 3 years ago. Compared to the original, the whole piece has been transposed from E to B minor in order to better accommodate for newly included passages. However, still not dissimilar from the first drafts, passages with constant false relations are abundantly featured in this piece, to the point that the harmonic resolutions expected of more conservative counterpoint are frequently sacrificed for the sake of chromatic saturation. Scrolling video link (YouTube): https://www.youtube.com/watch?v=mYUZX-iQSF4 Passacaille en Valse in B minor.mp3 Passacaille en Valse in B minor.pdf

At the request of one of my subscribers, I decided to try my hand at writing a passacaglia emulating the style of French Baroque composer François Couperin. While both my research and efforts may have proven relatively insufficient in convincingly imitating most of the intricacies found within his keyboard style to the fullest extent, I am nontheless pleased with the results of this little experiment. This work is supposed to be understood as a two-part ouverture as a whole: the first movement is comprised by a prelude riddled with double-dotted rhythmic figures very much intentionally reminiscent of other French Baroque ouvertures, specially those of Jean Baptiste Lully. The passacaille itself follows a strict repetition of the same harmonic baseline throughout the first two variations, which is then slightly altered in a kind of quodlibet by non-strict canonic imitation reaching up to 4 voices, followed by a coda almost identical to the last phrase of the prelude. Thankfully I finally found a way to switch between soundbanks of my harpsichord soundfont automatically amidst playback, which in turn allowed me to include various registers of the instrument across diverse sections of the piece, namely three: Grand Jeu (literally translatable from French as "Great Game": I 4' 8' II 8'), Petit Jeu ("Little Game": I 4' II 8') and Luth (the lute register, also commonly known as a compound buff stop: I 4' Lute II 8'). Eventually, this composition will most likely become susceptible to getting transcribed into a 4-hands arrangement in the future, mostly due to the large intervals in some measures that can only be covered that way. For now, this version may stay as it currently is, since any difference between this iteration and said arrangement would otheriwse be completely imperceptible using digital playback. Scrolling video link: French Ouverture - Prelude and Passacaille in F minor.mp3 French Ouverture - Prelude and Passacaille in F minor.pdf

Funnily enough, it's very telling of commenters who don't have much of substance to say about the overall quality of my work when they start pointing out the most banale, trivial nitpicks. Not your case by any means, but it's a relatively common occourrence in the comment sections of some my videos. Things like "this is supposed to be 3/4, not 6/8 meter" or "the panning of the background choir doesn't match that of the Cantāmus one". I wouldn't say it's a matter of reputation. I also wouldn't write such replies unless I have any observations or criticsm of substance to offer, as I believe it's a waste both of my time and that of the composer whose work I'm reviewing. Besides, this composition is technically a revised version of and older work: a repost, if you will, so I wouldn't blame more seasoned members who frequently comment on my posts for merely withholding what has already been said before. I had never tried this double-scoring method before, and I must admit it sounds as effective in rendering more human-like expression as much as it seems to pose a whole lot of work. The closest thing to this I usually do is manually inputting the exact tempo gradation values for the ritardandi at the end of each piece, since before MuseScore 4 came out there was no way to insert working rallentandi automatically into the score, or at the very least, not that I knew of. So in order to cover my tracks while still keeping those tempo markings functional, I manually alter the text format to make them invisible, even inside the program itself. That alone often turns out to be an absurdly tedious process and I hate it. At the moment I doubt I could even imagine myself inputting all those rubatos and expression markings and then subjecting those to the same formatting process without cleaving my head open in half out of exasperation. Even if the improvements were marginally or even substantially noticeable, I have much more valuable things to do with my time than attempt to "humanize" the recording manually. The mere thought of engaging in such a tiresome toil for a result that could far more accurately and naturally be replicated through MIDI input or a simple performance recording sends me quite aback. I've heard of this software before. A Discord user by the name of @grpnr1345 applied the software's protocol's to one of my earlier fugues under the same guise, and the results were mixed for me, because the sampling and reverb values were just deplorable, turning the overall timbral quality of the piece essentially into a downgrade, but the altered recording itself, as well as the intricacies of its transformation, felt rather convincing. For context, the audio file in question has been attached to this post. Lastly, thank you kindly for your detailed review. As for the software you mentioned, you're free to apply the Lilypond protocol to my score whenever you feel like it or have time for it. It will most definitely be interesting to see how different users of the same software modify music in the same style, so you have my full permission and encouragement to "humanize" the recording as you see fit. Fugue in G-sharp minor No. 17 Pablo Marinero Cueto 2023 - Zell 1737.mp3 Fugue in G-sharp minor #17.pdf

To commemorate the date designated as Bach's actual birthday under the Gregorian calendar, this time I have decided to upload the definitive revised version of another one of my previous fugues, originally in the key of E minor though still for the same ensemble. I would also like to dedicate this fugue as a birthday present to my dear friend Julia as well, whose family has been going through exceedingly difficult times for more than one year now. Since the loss of a very special loved one has taken a severe toll on us all, my sincerest hope now is that she and her family can start anew and rebuild their lives from the ashes of their grief, even when all hope for a better future seems gone forever and endless mourning seems to be the only thing left to live for. Bach himself was no stranger to painful, heart-wrenching losses. Even as he lost both parents at age 10, his first wife at 35, and in line with the astronomical infant mortality rates of his era, more than half of his 20 children during childhood, he was likely reassured that his dedication to God alone through his music would be worthy of a place in Heaven for all those he loved and whose safety he prayed for daily. This key of F-sharp minor in our currently standardized A = 440 tuning always evoked in me a far greater sense of mourning in the wake of tragedy than any other. Perhaps because of this reason I felt naturally drawn to it when thinking of those precious loved ones we may have lost along the way, the precious, cherished moments that will never again come to pass, and the longing memories broken by the sudden wound their departure left forever imprinted in our hearts. Scrolling video link (YouTube) Fugue in F-sharp minor for String Quartet.mp3 Fugue in F-sharp minor for String Quartet.pdf

In anticipation of tomorrow being Bach's 341st birthday according to the Julian calendar, I have decided to upload now the modified version of this fugue, which I initially intended to repost back on July 28th last year to commemorate the 275th anniversary of his passing, but couldn't due to circumstances which prevented me from publishing it in time. As such, in order to better honor his unparalleled legacy and eternal spirit thriving within the vast reaches of his art, still echoing through Western musical history long after the world was graced by the timeless genius, unabating magnificence and unmatched brilliance of his divine compositions, I have chosen to once again mark this occasion by sharing the definitive revised edition of this humble work of mine, originally based on the subject of his G-sharp minor fugue from the 1st volume of the Well-Tempered Clavier (BWV863b), as a tribute to his insurmountable greatness and immortal spirit. In roughly 10 days from now, his 2nd birthday according to the Gregorian calendar will also take place, so by then I may have hopefully finished another piece I'm currently working on in time to celebrate his actual birthday. Note: the whole composition has been rendered in A = 415 tuning and 1/5th-comma meantone temperament, in order to better, more accurately capture the Baroque essence this piece strives to convey. Scrolling video link (YouTube) Fugue in A minor (Subject from BWV 863b).mp3Fugue in A minor (Subject from BWV 863b) Piano.mp3 Fugue in A minor (Subject from BWV 863b).pdf

Greetings @Wieland Handke! The response I was writing got lost when I tried to post it, which saddens me considering I went on a very long tirade about how Bach's music cannot conceivably be surpassed and how my admiration for his genius renders my own works insignificant in my view, but perhaps precisely for that same reason it's for the better that such a reply will never see the light of day. At times even I grow concerned by my absolute devotion towards Bach, so stating the obvious a thousand times with different words would only further make it seem like an unhealthy obsession. As for the canons in Die Kunst der Fuge, there are actually 4: Contrapunctus XII at the Octave - in Hypodiapason/alla Ottava, XIII at the Twelfth - alla Duodecima in contrapunto alla Quinta, XIV at the Tenth - alla Decima in contrapunto alla Terza (not to be confused with Contrapunctus XIX, the unfinished Fuga a 3 Soggetti, which is usually presented as Contrapunctus XIV in most of the modern versions that omit the canons) and XV in Augmentation and Inversion - per Augmentationem in Contrario Motu/al roverscio et per augmentationem. There is also one more, found in the Appendix of the Art of the Fugue and often relegated to obscurity in most editions for that very reason, as well as probably because the beginning of its theme until the entry of the 2nd voice is identical to that of Contrapunctus XV, and only then diverges: the canon in Hypodiatessaron al roverscio et per augmentationem perpetuus. As you can see, the format of the title itself had a far greater impact on my own canon's technical conceptualization than the music itself. And regarding the point you're making, I am rather inclined to agree. Shunske Sato arranged the Netherlands Bach Society's recording of the Art of the Fugue so that every couple movements, a chorale would be sung. Perhaps my own canons could serve as interludes instead of being the focal point of a given programme or concert cycle, though for such an outcome a far more monumental and extensive work would need to be composed first.

Since this is in essence a revised version of my earlier Enharmonic Perpetual Canon No. 3, whose single contrapuntal flaw replicated across all voices required a modification of an octave leap which ultimately ended up necessitating a transposition of the whole canon a perfect fourth higher, I decided to change the title of the entire series thus far to "Pantonal Perpetual Canons", as the previous title didn't quite serve as an accurate descriptor of the technicalities within the compositional process that gave rise to these pieces. Due to the necessary integral transposition of this work, however, the coda's newly resulting ending key (F-sharp/G-flat major), the only key along with its relative D-sharp/E-flat minor that displays an equal number of accidentals when enharmonized, far too many inconsistencies relating to the enharmonization of melodic intervals can be found in this version. Normally I would have managed to transcribe the melodic theme across all its internal transpositions in a way capable of satisfying apparent melodic continuity throughout the notation process, but due to the ambivalent quality of this key when it comes to enharmonization, not even the coda could be perfectly transcribed without far too many double accidentals. As such, as much as it irks me to see it like this, I have had no choice but to leave the currently notated version of this canon as is. The choral lyrics of this canon (once again, in Latin) translate as follows: "Change is inevitable in all things. Everything flows in the balance of those who are tempestive." As for the coda, its own lyrics further drive the meaning of these aphorisms to greater clarity and realization. YouTube video link:

Greetings @Wieland Handke! The F-natural in bars 3 and 4 of the 1st and 2nd entry is very much intentional, even though it does generate a certain degree of instability not present in the original, fully tonal rendition of Mozart's own canon. In fact, I should thank you for highlighting the matter of accidentals, as the previous version did not, in fact, feature completely real transpositions of the theme. There were a handful of mistakes every 3rd bar, not contrapuntal, but harmonic and thematic, as the continuity and integrity of the transpositions was broken with leading tone and its minor 3rd/5th of a dominant chord being raised a semitone higher. All of that has now been corrected, so unless any more oversights of mine were to resurface, every single entry should now be a real transposition to the lower major 2nd of the main 18-bar-long subject. I'm glad to learn that the current length of this canon would prevent it from seeming far too repetitive to the eyes of an educated listener. Indeed, I was worried it might end up sounding excessively mechanical despite the flowing timbre of legato strings, as monotony may distort even the most sophisticated of musical devices into pure pure noise after far too many identical, tiresome reiterations. It's a relief to know that to you it did not appear to be the case here, and I must thank you for your acute observations, for otherwise I might not have come to realize that the transpositions were not 100% exact. I should also probably check @PeterthePapercomPoser's take on the Persichetti exercises, especially considering this canon on different scales you just mentioned. I'm anticipating a gold mine of modal/post-tonal contrapuntal solutions! Thank you for this recommendation as well.

So I decided to convert the theme of Mozart's perpetual canon at the 2nd for String Quartet in C major (KV 562c) into one of my enharmonic canons by keeping the same melodic intervals across all its entries. As opposed to the four previous installments of this genre, this one is exclusively instrumental, as I struggled to redistribute the voices so that the theme would fit the vocal ranges of a 6-part choir. Partly for the same reason, the string sextet section is comprised of 4 violins and 2 cellos, as the viola ranges appeared unsuitable for the middle voices without significantly altering the whole structure of the canon. Neither is it technically a dual canon by tritone transposition as the others, but instead returns to its initial starting point without the need for a secondary repetition a minor 2nd lower per each iteration. This is due to the fact that, instead of following the circle of fourths, each entry starts a major 2nd lower from the previous one, thus having the first note of each of the 6 entries in this canon trace the whole-tone hexatonic scale back to its inception. YouTube video link:

The subject of this one first came to mind roughly 7 hours ago already in its current form, and realizing its potential I wasted no time in writing it down, lest I forgot its exact melodic contour whose progression has been able to accommodate for elaborate chromaticisms in the other voices. Now, after yet another sleepless night put to good use with tireless contrapuntal machinations, this little fugue for string trio is at last complete in my eyes. YouTube video link: