Seraphim

We're veering off-topic here but while some readers are faster than others even the fastest PDF reader is slower than a jpeg. PDFs can also be finicky and unstable. Not everyone has an ideal setup.

Prelude: I like the melody and the flow but the melody in the accompaniment could have been pushed a little more with a more defined rhythmic identity of it's own. Fugue: It loses a clarity and momentum between bars 11 and 18 where it sounds like you've thrown in a few too many ideas cose together. I like the playful ending. Some ideas (my 2 cents based purely on my personal preferences in music): I think you missed out on an opportunity to bring back the subject at a higher register before breaking out into various elaborations and also to play around a bit more with registers and keys. For example, at measure 21, where the subject responds to measure 19 a couple of octaves below, try coming in at C instead. I feel it would have been a bit more dramatic. Ultimately it's your piece and you have to decide what sounds good to you. This kind of thing is highly subjective and there is no right or wrong.

A calm, meditative piece. I enjoyed listening to it while I did some work. The one criticism would be that sometimes the right hand sounds a bit thin next to the left. Other than that, nothing sticks out as crude and it's generally a rather pleasing piece. In reference to what you've said above, my advice would be to not go crazy with the dynamics. Often, less is more. Thanks for posting.

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Any of the following formats would help: Midi, MP3, PDF or BMP/JPEG. PDF is slow and bloated so if you can export to BMP or JPEG instead it would be greatly appreciated.

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This one's a bit longer. I've used a contemporary theme for this one so, for me, it also serves as a bit of a sound experiment. Cancrizan_Contemporary_Theme.mp3 - File Shared from Box.net - Free Online File Storage Cancrizan_Contemporary_Theme.PDF

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Thanks. There isn't any more to it. It's just something I whipped up in response to a discussion about Bach involving chromatic sequences, eighth notes, and melodic and rythmic integrity in canon writing. It sounds like a guitar because my sequencer does a very poor job imitating a harpsichord (too many artifacts, presumably from compressoin) so I simply swapped in the guitar sound.

The problem, for my tastes, is the subject itself. Each melodic segment within the subject ends with a long note and lacks rythmic variety. The combination of those two factors is that it loses momentum and ends up sounding like something is missing even after other voices join the mix. There also isn't any real counterpoint there, just repeating rythmic layers a la hip-hop. Where the piano plays the subject in the right hand while playing a fast accompaniment with the right hand is another problem area. It sounds a little too simple. Let the left hand do a bit more work and turn the accompaniment into it's own one-handed polyphonic showcase as, high above it, the left hand slowly plays the primary subject as Bach often does in his choral music.

Let me know if you like it. Click to listen instantly: Little_Cancrizan_8_Bars.mp3 - File Shared from Box.net - Free Online File Storage A crab canon is a melody that is accompanied by itself played backwards. Here is a longer crab canon by JS Bach Little_Cancrizan_8_Bars.PDF

By far the best piece I've heard from you. I actually enjoyed it all the way through.

I like it a lot and it sounds great but one thing I'm not a huge fan of is the added decoration. My philosophy for modern fugues is that the purer (ie., less extraneous, non-thematic material) the better. I like how you've used inversion of the subject.

Ah Bach ... the patron saint of sixteenth notes. Yet remarkably I would not be disappointed if Bach was the last thing I heard. Sounds good but some of the inner stuff gets hidden. How I like to hear this in terms of pacing ... (crappy recording aside) YouTube - Organ Bach Fugue BWV 542 (2) This is the same thing played at a slower pace with a great blow by blow breakdown of how bach structured this fugue ....