Fugue in D minor

A short fugue which plays with the material of the preceding prelude.
I tried to create a bridge between contemporary music and classical music.

Tell me what you think!

Points where either the tonality or atonality of the fugue were more clear were quite nice. However, there were a few moments (I can't see the score) where the superimposed chords didn't sound very good to me, personally. Mostly these were V over IV chords or V over i chords. The use of overlapped voices makes this sound "wrong" rather than just an interesting artistic choice because the voices are at odds with each other. It's a great concept, which I think is totally usable, but I think might have needed to been eased into a little bit more before the chaos starts

I'd like to see the score (doesn't work, in general, I think). Interesting. I am always fond of changing from one language to another, but transitions are essential. Some idioms doesn't work well with others. Here the sensation is of modernity, apart from the beginning. Your transition is good because without knowing how or when, you are  in dissonant mode. Great.

47 minutes ago, Monarcheon said:

Points where either the tonality or atonality of the fugue were more clear were quite nice. However, there were a few moments (I can't see the score) where the superimposed chords didn't sound very good to me, personally. Mostly these were V over IV chords or V over i chords. The use of overlapped voices makes this sound "wrong" rather than just an interesting artistic choice because the voices are at odds with each other. It's a great concept, which I think is totally usable, but I think might have needed to been eased into a little bit more before the chaos starts

 

I completely agree that some parts sound 'wrong'. I will take a look at it again, because I do not like the result at all. 

It is a complete mess everywhere regarding counterpoint, tonality, voice leading and harmony. 

You may think "why did you already most it then?" Well, I have not been able to write anything for more than two months due to lack of time and inspiration. Maybe some feedback would help me to 'recover.' 

It is a pity that the pdf feature does not work.

18 minutes ago, Luis Hernández said:

I'd like to see the score (doesn't work, in general, I think). Interesting. I am always fond of changing from one language to another, but transitions are essential. Some idioms doesn't work well with others. Here the sensation is of modernity, apart from the beginning. Your transition is good because without knowing how or when, you are  in dissonant mode. Great.

 

Yes, there is a pdf issue in clubs. 

Do you mean transitions in this piece or transitions in my style? 

For more about the piece and my thoughts, please read my response to Monarcheon.

I've read it.

counterpoint doesn't work the same out of classic harmony, perhaps there it is part of the problem

Your transitions in modern styles are very good. I always find the pieces balanced.

5 minutes ago, Luis Hernández said:

I've read it.

counterpoint doesn't work the same out of classic harmony, perhaps there it is part of the problem

 

Yes, I noticed that. This is for me the most challenging part of writing fugues. 

5 minutes ago, Luis Hernández said:

Your transitions in modern styles are very good. I always find the pieces balanced.

 

Thank you, maybe that it because I can write music that I know, whereas I have not written many fugues (yet). 

I think it can be considered a completely independent 'genre' in music history. 

@Luis Hernández

@Monarcheon

Is this second version better?
Fuga (2).pdf

It sounds pretty well, more on the tonal side, but nice, coherent. Thanks for the score, beautiful too.

I like the second version much more, it appeals more to my tonal sensibilities lol

11 hours ago, Mark101 said:

I like the second version much more, it appeals more to my tonal sensibilities lol

 

Thank you, it is indeed closer to tonality than the first one. 

As I am more attuned to tonal music, I prefer the second one.

The piece itself flows nicely, and I feel like you have dealt well with some of the difficulty of counterpoint. I like your 'moments of modernism' where we escape from the fugue for a second or two.

Thank you for your submission to the project.

23 hours ago, aMusicComposer said:

As I am more attuned to tonal music, I prefer the second one.

The piece itself flows nicely, and I feel like you have dealt well with some of the difficulty of counterpoint. I like your 'moments of modernism' where we escape from the fugue for a second or two.

Thank you for your submission to the project.

 

 

It was a pleasure! Great project by you, this really helps the community! 

I generally don't mind dissonance, but in this piece, I don't hear the dissonance playing "through" any motif. If it is, I'm missing it. If I heard the dissonance flowing through a motif, it would have more meaning and be easier to accept. But overall, I like the piece.

7 hours ago, jana said:

I generally don't mind dissonance, but in this piece, I don't hear the dissonance playing "through" any motif. If it is, I'm missing it. If I heard the dissonance flowing through a motif, it would have more meaning and be easier to accept. But overall, I like the piece.

 

Thank you, I personally really like to make sudden contrasts between consonance and dissonance. I did use it in a very specific motive, but I used a motive and made it more dissonant. 

I like both tonal and atonal music, but Monarch was right, the atonality did not fit the piece. In context, it sounded more like egregious errors on the pianist’s part 🤣

Your revision is awesome. The theme is engaging (I won’t say “catchy”, but it is), and the spice of “looser” language like at mss. 17-18 (which is the same in both versions) setup the future interplay between old and new, rather than Schoenberg crashing a Bach party uninvited. Perhaps you feel mss. 28-34 are too “tame” now, but honestly, I think it’s a big improvement, and fits.

Really awesome piece, thanks for sharing with us.

What a fascinating little piece!  I really must congratulate you!  While I'm a lot stricter in my counterpoint than you are, what you've done still has a lot of technical integrity.  I absolutely LOVE the unexpected little forays into chromaticism, such as in the soprano voice in measure 9.  

Having listened to both versions, I agree with some of the previous posters that the second version is much improved.  Well done.