fugue Prelude and Fugue in D minor

I was going to copyright this piece but I don't really know if it's good enough to do that quite yet. I was looking for feedback on it so I can change it before it gets properly cemented the way it is. Specifically, the basic low strings part and the countersubject I wasn't sure how well they were implemented. Thanks a lot and enjoy!

Um... yes it's good.

It'a a wonderful piece. Very classic sound but beautiful and interesting.

To my taste, I would shorten the intro part a little bit (00:00 - 2:00). It's not that it's slow, I don't care aout that I like it, but the theme is repetitive, whenever it appear again later (with great changes, 3:10 or so). But, as I said, it's my poin of view as a listener.

The fugue is wonderful, I wouldn't change anything. It's beautifyl even the score!

Greetings!

Hey cool!
I found a couple of notational things;

• Measure 70: you notated violin 1 & 2 with different rhythmic values, but I think you intended them to be the same
• Measure 72: this is the only place I see you use the dotted eight note/sixteenth note rest to indicate the articulation you're after. It seems like everywhere else you used plain eighth notes with just the articulation markings--was this on purpose?

Going along with what Luis said about the introduction, it's well constructed and executed but does seem repetitive. My question is what are you trying to accomplish with the repeats? For example, classical composers would immediately restate an idea with a minor variation (i.e. re-orchestrated, different dynamic level, etc.) to emphasize a point. With your repeats, though, nothing is changed so I feel like I'm covering the same ground twice as a listener. That's cool when I feel like I need another listen to digest an idea further, but here I feel like I'm following it pretty well.

Beautiful work, keep it up!

Gustav Johnson

1 hour ago, Gustav Johnson said:

Measure 70: you notated violin 1 & 2 with different rhythmic values, but I think you intended them to be the same

The measure that's actually wrong is 49. With super high notes in the octave it's better to satisfy the partials is one is notated shorter.

1 hour ago, Gustav Johnson said:

Measure 72: this is the only place I see you use the dotted eight note/sixteenth note rest to indicate the articulation you're after. It seems like everywhere else you used plain eighth notes with just the articulation markings--was this on purpose?

It's to symbolically match the viola rhythm.

Thanks for your input!

That was great!

My favorite part was the second section of the prelude (poco piu mosso), although I'd have to agree with Luis in that it took a long time to get there with the repetitions (although I suppose this could be ornamented and thus made more interesting in a live performance).

I'm not really the right person to comment on what should or shouldn't be happening in a fugue, but it seemed well-balanced to me and was engaging as it chugged right along. My only question was whether the bass in mm. 62-69 could be given something more rhythmically interesting, but that's really just a quibble. Great work!

For some reason, I got a Alan Hovhaness vibe from the "prelude" section....maybe that's just me....

The repeats in the prelude didn't bother me that much. I do think that in measure 13, instead of a direct repetition of the theme, maybe you can add some variation to it, like in the lower strings perhaps. The section around measure 29 was just gorgeous! 

Not an expert on fugues, so can't really comment the structure that much. One thing maybe you can help me with, or someone else can chime in: I thought the answer to the subject was suppose to be in the dominant key...your subject/answer seems to be all in D minor. Maybe I'm too focused on the traditional Baroque structure...?

27 minutes ago, danishali903 said:

Not an expert on fugues, so can't really comment the structure that much. One thing maybe you can help me with, or someone else can chime in: I thought the answer to the subject was suppose to be in the dominant key...your subject/answer seems to be all in D minor. Maybe I'm too focused on the traditional Baroque structure...?

You are correct. Normally the introduction of the subject goes on for longer so the dominant answer can build on it, but I decided to be a little rebellious. :)

The prelude definitely have some Hovhaness vibe to it. Nice buid-up to the fugue. Interesting fugue, as well. Doesn't seem like a fugue in the strictest sense, but then again, there are those that defy common compositional practices for fugues, so yeah, good work!

2 hours ago, francis94 said:

The prelude definitely have some Hovhaness vibe to it. Nice buid-up to the fugue. Interesting fugue, as well. Doesn't seem like a fugue in the strictest sense, but then again, there are those that defy common compositional practices for fugues, so yeah, good work!

 

The introduction of the countersubject is in the correct place. The only thing not technically correct in a baroque sense is the introduction of the answer. Thanks!