First Fugue Exposition

As I am new to this forum I guess I should introduce myself: I am a Norwegian hobby musician and have played classical piano for about 25 years. I play synthesizer in a band and I now and then write some music. Last year I challenged myself to write one song/melody every day. I have very little education in music theory, but I have a fairly good ear.

Recently I found a new challenge: I want to write a fugue. I have read up on writing fugues (especially the Crash Course from this forum), and after some trial and error I have finished the exposition. The subject is the opening from a well known Norwegian lullaby. I am sure there are many counterpoint and style errors, so I would really like some feedback. I've read everywhere that after the first answer one should modulate back to the tonic, but I feel that it worked going directly back with only one eighth note in Bb. I also added an extra measure before the last answer as it gave a nice finish to the melody in the soprano.

So there it is, please let me know what you think.

So_ro_lille_mann.pdf

So_ro_lille_mann.xml

Really good for your first try! Just a few things: In strict counterpoint the interval of a fourth is considered a dissonance, (but only if it involves the lowest voice playing at the time) so the fourth between the g and c in measure 6 wouldn't be allowed. In this style, fourths should be resolved like other dissonances, quickly by stepwise motion. Also, when attempting to write independent voices, it isn't great to have 2 of them in parallel 3rds for 2 whole measures like from 9-10 in the soprano and alto. Although parallel thirds are allowed, I don't think you should use them so extensively as you do here.

Really good for your first try! Just a few things: In strict counterpoint the interval of a fourth is considered a dissonance, (but only if it involves the lowest voice playing at the time) so the fourth between the g and c in measure 6 wouldn't be allowed. In this style, fourths should be resolved like other dissonances, quickly by stepwise motion. Also, when attempting to write independent voices, it isn't great to have 2 of them in parallel 3rds for 2 whole measures like from 9-10 in the soprano and alto. Although parallel thirds are allowed, I don't think you should use them so extensively as you do here.

More problematic than the unresolved fourth is the unprepared minor second dissonance (and its resolution) on the downbeat of 6. Unless you are writing a pedantic counterpoint exercise, an occurrence like this normally isn't catastrophic, but it is highly ineffective in here in the exposition, especially considering that it is still only a two-part fugue at that point. I suspect that it is an oversight or a compromise, but I would reconsider its purpose because in my opinion it does you no favors. Otherwise I second orchdork - congratulations on a fine start though. Really, it's not bad considering.