Cantus Contrapunctus

This is part of a larger piece, I’ve been working on for awhile, that I just can’t seem to make work within that piece. 
I was thinking about making it a stand alone work but was uncertain if it works by itself.

The basic idea is a fugue structure (I’m sure it violates numerous rules associated with fugues).

Any thoughts are welcomed.

2 hours ago, BipolarComposer said:

within that piece.

To fit entirely within it? Or as one of multiple movements? Perhaps the second approach is best. Follow-up with additional movements of extreme dynamism and contrast. No particular need to worry about fugal format. The coda-like section starting around 3:49 is a very effective end which somewhat paradoxically seems like more of a beginning for later music to come.

6 minutes ago, AKAChristopher said:

To fit entirely within it? Or as one of multiple movements? 

 

It’s within the piece, it has a A-B-A-C-A-B-Coda structure, with this being the C. 
The “coda”, at the end of this, is the transition back to the A section, which works well. 
my issue has been the transition from the 2nd A into this. I’ve rewritten it 4 times now and I’m still not happy with it. 
I might try out your idea and segment the pieces into movements. 

22 minutes ago, BipolarComposer said:

it has a A-B-A-C-A-B-Coda structure

why? did a flow of certain musical ideas that came to you suggest this structure? or was this an arbitrary decision? how many of those sections have been composed or at least been thought of in some detail? i do not mean to suggest that your approach has been wrong, i am only trying to get an idea about what it is.

3 minutes ago, AKAChristopher said:

why? did a flow of certain musical ideas that came to you suggest this structure? or was this an arbitrary decision? how many of those sections have been composed or at least been thought of in some detail? i do not mean to suggest that your approach has been wrong, i am only trying to get an idea about what it is.

 

It was basically three separate pieces, that I didn’t feel were really enough on their own,  that I combined into one piece. 
So very likely my approach has been wrong all along. 

1 minute ago, BipolarComposer said:

my approach

i have recently been pondering how various approaches to compositional processes influence eventual output. is it best to decide in advance how things will be ordered, the exact musical constructs that will be explored or does a more free-form approach work better. perhaps is it best not to try to plan things in too much detail. why A-B-A-C-A-B-Coda? why combine everything into one? if because a certain musicality has taken place around these ideas in your musical being then that is good. if not, then maybe not. 

Hi @BipolarComposer,

On 4/25/2023 at 6:37 AM, BipolarComposer said:

The basic idea is a fugue structure (I’m sure it violates numerous rules associated with fugues).

I feel like the fugue is quite modern in style, so I don't mind having those violation of rules which are applicable to older fugues only. I enjoy the modal and Bartokian nature of the piece. It really reminds me of the first movement of his for Music for Strings, or Stravinsky's the Symphony of Psalms with those abrupt pauses and modal harmony and punching bassline.

On 4/25/2023 at 6:37 AM, BipolarComposer said:

This is part of a larger piece, I’ve been working on for awhile, that I just can’t seem to make work within that piece. 
I was thinking about making it a stand alone work but was uncertain if it works by itself.

This will have to wait for the final product to comment ok wheter this work or not! You can just treat as different movements of a suite if they are not very cohered!

Thanks for sharing!

Henry

Reminds me of Bax's Symphony No.3.