Fugue in 5 Voices

I'd ike to share this little fugue in 5 voices.

FUGA 5.mp3

FUGA 5.pdf

Ok, first of all, this is awesome. I absolutely LOVE the pipe organ and it's always great to hear new music written for the instrument.

I very much enjoyed this. It is quite nice! I will say it felt a little short and when it was over, it was like "Aww... that's it?" I felt like it definitely could have gone on even longer and developed more. Better yet, it could be made into a movement for an epic pipe organ suite! Just my two cents... something to consider possibly? Very nice! :)

i see you use the first melodie over and over each 2-3 bars, then on page 2 you start the first melodie on the second half of measure, im making a fuga, and i was doing the melodie every 3 measures too, but i changed too much, thanks for the inspiration! i really enjoyed this but, i could only get my feeling into the fuga after bar 10, maybe you  put too much notes too early in the fuga? the more i listen to it the more i understand this though. Funny how fast this grows on me! so one questoin about the fuga please. how do you search if melodic lines fit together, and do you start from 5 voices, or build it up from 1 when composing? I can't imagine starting with 5 but it would make sense because then you know how they sound together and if that's sound, well then you can just ''rewind'' the composition. Good work!!

I thought that the sound here would be dense, "thick", because of the 5 voices and the sound of the organ. This is the reason why I tried to go over the subject again and again, except in the development section (bars 10-13) with the chromatic motive in the lead voice.

The most difficult part for me was the "stretto" (bars 14-16) where the voices superimpose using the beginning of the subject. In fact, I think some notes are too far apart to play with one hand. I thought I had to correct it, but I lost the original file (in Finale) and couldn't do any modifications (luckily I had the mp3 and the pdf files).

I don't write fugues very often, and when I do it I include 3 or 4 voices at most. But I knew there are voice for 6 voices (Bach, of course). So, I wanted to try a 5 voices fugue.

My thecnique is this: I write the subject in one voice, it is good that the subject establishes the tonality (dominant-tonic progression). Then I transpose the subject to the dominant (or subdominant) in other voice. The firts voice I used plays a countersubjetct. Every time the main theme (subject) appears, other voice plays the countersubject. The rest of the voices are written freely (in counterpoint). These voices in counterpoint are easier to write because ther are "free". I'm not careful about parallel fifths, I don't try to imitate baroque period. Besides, parallel fifths were consonant eariler and much later. Consonances and dissonances change along time and musical periods. I understand peopla that apply this to the letter, but that's not my case. I write fugues for fun and to improve my skills writing counterpoint. But as in the music I usually write, parallels are welcome (when I want them), I do the same here.