Fuga a 3 in g minor

Fuga a 3 in g minor.mp3I recently have been reading and working through Jacob IJzerman's "Harmony, Counterpoint, Partimento" which I highly recommend, and I was inspired to write some short 3-voice fugues, mostly just to see if I could write them convincingly. Here's one of them. I scored it for flute oboe and bassoon so that the different parts could be heard easily. 

I think you've got a real nice touch with counterpoint, at least based on this brief sample. I'd love to see you expand on this and turn it into a fully fleshed out piece. Nice job!

I think you show an aptitude for development and modulation in this short fugue!  Effective use of both functional as well as modal chromaticism.  There's a really nice and sequential episode around bars 6 - 7.  However, usually middle entries of the subject in new keys are still accompanied by counterpoint or by counter-subjects but for some reason you chose to present it here by itself.  Also I used to write fugues for this kind of ensemble myself as a kind of final exam in counterpoint class but instead of Oboe, we wrote for Flute, Clarinet and Bassoon.  Maybe because good Oboe players were hard to find but also possibly because each voice in such an ensemble has a unique timbre.  Although it works this way as well!  Thanks for sharing and good luck!

5 hours ago, PaperComposer said:

I think you show an aptitude for development and modulation in this short fugue!  Effective use of both functional as well as modal chromaticism.  There's a really nice and sequential episode around bars 6 - 7.  However, usually middle entries of the subject in new keys are still accompanied by counterpoint or by counter-subjects but for some reason you chose to present it here by itself.  Also I used to write fugues for this kind of ensemble myself as a kind of final exam in counterpoint class but instead of Oboe, we wrote for Flute, Clarinet and Bassoon.  Maybe because good Oboe players were hard to find but also possibly because each voice in such an ensemble has a unique timbre.  Although it works this way as well!  Thanks for sharing and good luck!

 

Thank you! Bars 6-7 is my favorite part too. I don't know much of fugue form, I just did what I thought would work for the short length. I was going to write for clarinet but I didn't feel like translating the music into a B-flat clarinet part. 

18 hours ago, Seni-G said:

I think you've got a real nice touch with counterpoint, at least based on this brief sample. I'd love to see you expand on this and turn it into a fully fleshed out piece. Nice job!

 

Thank you for your kind words, I definitely plan on writing some larger fugal works in the future, now that it's not such a mystery writing them.