Free-form Fugue in A minor.

I've been working for some weeks on fugues and counterpoint, and this is the third composition I could finish by now.  In terms of perception, this fugue somehow sounds a bit meaningless to me in comparison to my previous works (those in the topic "My Fisrt Fugue"). What do you think about it? Is there something I could do to make it more interesting? Changing some chords maybe?

It's nice. Fugue is a form in itself.

But more than a fugue it's an imitative counterpoint. Apart from the subject and first entry it's difficult to hear more entries. Is there any strettos (or stretti, I don't know) ?

How hard counterpoint is....

I would consider this more of an invention rather than a fugue but overall quite nice.  There are a lot of parallel octaves and fifths and doubling of leading tones which if you are trying to emulate the baroque style, would normally be big no-no's.

On 9/9/2019 at 4:19 PM, Luis Hernández said:

It's nice. Fugue is a form in itself.

But more than a fugue it's an imitative counterpoint. Apart from the subject and first entry it's difficult to hear more entries. Is there any strettos (or stretti, I don't know) ?

How hard counterpoint is....

 

 

 

Thank you. Indeed, as for what I'm composing, I finally realized my pieces aren't fugues, not even strictly speaking. There are no stretti in this one either, however, the next one I'm going to post has two of them.

On 9/9/2019 at 8:04 PM, bkho said:

I would consider this more of an invention rather than a fugue but overall quite nice.  There are a lot of parallel octaves and fifths and doubling of leading tones which if you are trying to emulate the baroque style, would normally be big no-no's.

 

Thank you very much. I still don't really know where does the difference rely among both imitative counterpoint forms. Is it the number of voices or how many episodes the piece has?

Besides whether it's a fugue or an invention, I haven't ever studied harmony before. I'm neither trying to reproduce one-to-one baroque fugal composing despite Bach being my prime inspiration. I know, you might be wondering how dare I getting into imitative counterpoint while having no clear idea of how harmony works. Well, I don't even know the answer myself. It's just a sort of (hopefully not) temporary hobby I got into quite recently.

Anyway, today I just finished another Heterodox Fugue; this time in F minor. What I mean by "Heterodox Fugue" (or invention, I don't know) is an imitative counterpoint which has some glides leading it out of the Baroque style. I'll post it straightaway as a new topic.