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This is intended to be the second part of the second movement of my String Sextet in G flat major, after the part of Lamentoso. These two parts are very different from the more fleeing and transcendental first movement as I hope they capture the sadness of the time and what I feel, before leaping back to the world of the pentatonics later, which would make the pentatonics more grounded. Here is the first movement of the piece: Here is the first part of the second movement of the piece, the Lamentoso, which is actually finished after this fugue: Here are the scores, the original version and a version with my own (painful) analysis on it: Final Fugue from String Sextet movement 2.pdf(With Analysis) Final Fugue from String Sextet movement 2.pdf And here is the youtube video: The piece is dedicated to Mr. Johnson Ho. The finishing of the fugue is prompted by hearing his worsening health, so I really want him to stay healthy. The inspiration of the fugue first comes from my friend Mike @chopin and my mentor David (I am very honoured to name him my mentor even though we have never met in real life since his videos form the skeleton of my composing skill. Go watch his analysis videos NOW!) said that the middle fugato section from the first movement is the best part of the movement. I was shocked since I believed it was the worst of the movement! Then my bro Vince @Thatguy v2.0 (who also makes this perfect audio) inspired me to write a dense fugue for the second movement, and so I challenged myself to write a six part fugue, since I feel like it’s not fully realised in the first movement. This is he most difficult I have ever written, but finishing it I now consider it my most beautiful work composed up to date. It’s so emotionally deep, even weirdly I feel zero emotion during the composition process, only calculating the counterpoint haha. I am so satisfied with the result. The fugue comprises of three subjects, all from the 1st movement. The 1st and 2nd subjects are from the 1st movement fugue’s subject, while the 3rd subject is derived from the opening theme of the Sextet’s first movement. Here is the plan of the movement (time according to youtube video): First part (00:03): First subject enters in each instruments, inversion introduced at . All of sudden C minor enters (01:55) and I quote my subject of the C minor Clarinet Quintet 3rd movement fugue here to intensify the sadness. Also kind of replying to the relationship of G flat major and C major in the first movement, but while freedom is shared there, now sadness is shared. Second Part (02:12): Second subject enters and the section features a saturation of stretti. The C minor section (03:56) comes in at and it’s my favourite section of the whole fugue. It’s insanely tragically beautiful here. Third Part: Third subject enters (04:58), first and second subjects combine in the manner of the 1st movement fugato. The intensity is kind of lowered after that insanely tragic C minor section, maybe kind of accepting and reflecting upon it, and it’s less saturated with the subjects. However things starting to get intensified, first the third subject is treated as in Bach’s Chorale Preludes when it is cut up and divided to four phrases alongside the other two subjects (06:29). The only pentatonic entry (07:16) arrives to kind of relate itself to the first movement and hints what will come at the end, but at the meantime it’s defeated by disappointment and the fugue ends in a doubtful manner, which will lead to the chant section. Hopefully I would finish the whole movement as soon as possible! Hope you enjoy the fugue now! Henry

Uploading this in preparation of tomorrow's feast Context Music Hw3 calmer.mp3

This is a revised version of an old fugue that I uploaded last June. It did not get much attention back then, so I hope for feedback regarding the relatively strange counterpoint, especially in the last page.

Hello Everyone! I'm Emile, I'm 18 years old and I'm from a little island called Aruba in the Caribbean. I'm really passionate about Music, I'm a Classical/Romantic Composer/Pianist and started to compose when I was 12 and started with the piano at 14(able to play late Beethoven sonatas). And I've started to try my best to be known out there currently working on a piano concerto in f minor, string quartets and I'm looking forward to meeting all of you and getting involved in the great things happening here on this forun. This is the 12 variations on a theme in C major. But this is the 11th Variation! this is my first Toccata and First Fugue! this toccata took me several weeks and i was inspired by the intro of his Choral Fantasy when i first listened to it! and i decided to dedicate this to Beethoven because I finish the piece a day before his birthday. Dedicated to (Departed) Ludwig van Beethoven, Birthday of the Year 2023 P.S - The 3 voice fugue is not in strict form it's a wander/sonata form 12 Variations and Nocturne for Viola and Piano on a theme in C Major.mid

So... Seeing @PeterthePapercomPoser a.k.a PeterthePitifulcomPoser and @Thatguy v2.0a.k.a VincetheVeryVindictivebutnotValiant having their fight, I was enjoying my popcorn aside. But then I saw that Peter’s badge for this year Christmans event is so beautiful… it allured me to write my own Christmas music! This piece is really a joking fugue which uses Jingle Bell and Vince‘s “How the Shopper Stole Christmas” as the subjects to form a double fugue: (We all know Jingle Bell right...)(It’s great to escape from the pressure of the 6 voice fugue of the Sextet Second movement LoL….) I know Vince hates fugue, so I deliberately manipulate his theme with all sorts of fugal techniques to troll him muahahaha!!! I also include some quotations including my own throughout the piece haha. I dedicate the piece to him since I have trolled him haha! However, the more I compose this one it appears to me less of a joke… Joking Fugue on Jingle Bell and my Friend’s Theme Final.pdf Here's the structure of the piece: 00:02 Jingle Bell Section. Includes troll stretto, troll inversion and troll retrograde. Crushed by the Hammer at the end… And we need some help with the “festive mood”. 02:10 Shopper Section: Includes troll stretto, troll inversion and troll retrograde (the same LoL). The bell is repaired at 04:03 so the Jingle Bell theme returns to combine with the shopper theme but appears in minor. Some interesting polyrhythms happen there too, maybe Vince’s prelude style secretly invades. Tension building (but still have time to quote my own work LoL) for the… 05:28 Overly-Triumphant return of the theme which quotes the texture of the Emperor Concerto, another counterpoint of both themes and ends in a learned way LoL! Thx to Vince for this perfect audio! I think there are no tears here this time @chopin and no random pauses anymore I think. Hope you all enjoy this one and Christmas! Henry

Fugue_In_F_Major__No._1__-_Aw_Ke_Shen.pdfI know its kinda weird/too late to ask since i have published it but... Do y'all consider this to be a fugue or a canon...or even something else? I am quite confused because of the varied array AND definitions of fugue and canon. The melody in the right hand is followed exactly in the left hand just one bar after for all parts. It is just that for some parts, the accompaniments /accompanying chords of the right hand are not present in the left hand for some parts as I want it to be that way - to have the chords retain their meanings and not make it sound too strong. So idk... This is one of my simplest pieces ( my 18th finalized and published piece ); I titled it " Fugue In F Major No. 1 ". Not sure if I should re-title it ( no point for the videoscore itself that has been published in my Instagram, TikTok and Youtube accounts ) at least in the parts that can be retitled - my Musescore and Souncloud accounts and the title ( though not videoscore ) in Instagram and Youtube. Nowadays I avoid deleting my posts just to re-upload them. Would be grateful if y'all can give feedback : ) Thanks : ) Video Score In YouTube: https://www.youtube.com/watch?v=yafHwhEacM4 Score In MuseScore: https://musescore.com/user/62605720/scores/13517182 The audio version is sped-up.

One day a couple of weeks ago, I found this post on /r/composer where some guy (/u/AHG1) wrote a fugue for organ when he was a teenager. Anyway, I thought the subject was interesting, so I decided to do the fugue my own way. The original composer supported my endeavors as well, so I'm happy that he can finally see what I've come up with. This isn't a particularly unique fugue in my opinion, but any and all comments are of course welcome regardless. https://drive.google.com/drive/u/0/folders/191AToucbt0E9Py-6MqM0y_22IHwqxq6R

Hi, I've been workin on this fugue, trying to apply my new knowledge. It's in G major, and there's controversy. In the subject the dominant note (D) appears quite clearly in measure 3. Is it supposed to be transposed tonally, i.e. a fourth up (G) instead of a fifth (A)? I didn't. As you can see in bar 8 it is as an A. It really is an ambiguous case "by the book". Since the D appears prominently but already in the third bar. So I tried to make the answer as you can see, and as it sounded good it stayed that way. The structure is: Exposition, where the 4 voices enter and the countersubject is written in invertible counterpoint. Divertimento, sequence or episode (measure 22) that modulates to the dominant (D). Counter-exposition (measure 26), using inverted subject and countersubject. Divertimento (m. 36) using Corelli's Leapfrog with the subject motive with other schemata and Cudworth cadence (which I like to use a lot). Stretti (m. 44) and mini-exposition with pedal note. Divertimento (m.58) in the subdominant area with plagal cadence and new Cudworth to return to the tonic. Coda (m 65) with perfect authentic cadence. As always happens to me, I'm sure I've missed parallels all over the place. But hey, someday I'll get closer....

The truth is that there are many, many topics that could be discussed about the leak, but in order not to be tiresome, this will be, for the time being at least, one last question that I would like to address. It is about invertible counterpoint, or double counterpoint. What is it? Well, that counterpoint in which the upper voice and the lower voice can be interchanged and still sound good. For this, it is necessary to make sure that the intervals (in strong beats) are consonant both in "normal" and "inverted" position. The most frequent is to see invertible counterpoint at the octave. That is, two lines that can be inverted by raising one an octave and lowering the other an octave. But you can also see invertible counterpoint at the twelfth (which is a fifth + octave). More rarely we will see the tenth (third + octave). And other intervals are not practical, or very rare. WHY IS THIS FUNDAMENTAL IN THE FUGUE? If we compose an invertible counter-subject with the subject, we gain two enormous advantages: 1) In following expositions or entries, we can safely change the order of the subject - countersubject voices. 2) This makes the fugue sound coherent and, for the sake of redundancy, makes it sound like a fugue. Because the fugue tries to reuse the initial material as much as possible. If anyone is interested, I can post my own appreciations of how to compose these counterpoints. The truth is that mastering the invertible to the octave, you have a long way to go. To illustrate this, I bring here a fantastic analysis of Bach's C minor fugue where there is not only one invertible counter-subject, but two. Thanks to that, during the development he is placing them up, down, in the middle..... With this technique you have a great part of the fugue done.

I wrote this for fun. Whenever I try to write fugues I don't have the patience to check all the intervals. Also, in this case, the tonalities sometimes get a little fuzzy. What I did was to start from a simple material Subject I and its counter-subject I, written in invertible counterpoint. Answer (subject II) and countersubject II, written in invertible counterpoint. In this way, these parts can work the same up and down or the other way around. And with this, I followed the following scheme:

One minutious revamp, two of Bach's favorite instruments, three dazzling voices - this piece has it all for me. The title is pretty much self-explainatory. Otherwise, please consider reading my YouTube video description here: Enjoy!

probably my most complicated work so far, and took me over a month.

Hi everyone! I wrote this baroque style fugue as a studie piece. I am applying to the Liszt Ferenc Academy of Music (in Budapest, Hungary) this year, and I want to send in this fugue (they require a lot of study piece). I am hoping some of you can help me out with ideas, how to make it more stylish, more accurate. I listened to it so many times, I can't really determine how "baroque" it is.

Here I present two more fugues, also in a major&minor set. This time I tried to write for 4 voices in the major fugue, and I'm really satisfied with the result (tried 5 voices but quickly abandoned the idea). The minor fugue to me is less interesting but still has some things in the presentations of the subjects that was productive to compose. Hope you like them! Fuga_en_Fa_mayor.pdfFuga_en_Fa_Menor.pdf

This particular fugue, whose final version has been transposed one half step down from the original, has been the result of a rapid burst of creativity that often comes and goes in waves around this time of the year. Even though it was finished before midnight two days ago, the thought process of deciding on an extramusical title has taken a little longer than usual this time. In the end, I have dedicated this humble work of mine to the marvellous and everlasting art of Spanish painter Francisco de Goya, in commemoration of his famous oil on canvas "The charge of the Mamluks" which, as we know, depicts the insurrection of the people of Madrid against invading Napoleonic troops in May 2nd 1808, this exact date 215 years ago. The title itself, which roughly translates as "The unrelenting night train" is meant to evoke the profuse skirmishes that took place before the Puerta del Sol as the French colonial cavalry charged against the revolting crowds, thus igniting the first instance of bloodshed in what would come to be the Spanish War of Independence. Here's a royalty-free picture of this iconic painting among Goya's many masterpieces: Following the continued advice of some among my audiences, who suggested relieving the density of the counterpoint at certain points within my fugues, I have finally decided to try out this method, et voilà! I honestly can only say I could not possibly be happier with the result. How stubborn I was in keeping the full weight of the contrapuntal texture throughout the vast majority of my works in spite of my dear viewers' counsel! Thankfully, the wall encircling my mind has now been breached by these new perspectives, which I will henceforth apply to upcoming future fugues of mine. Enjoy!

Last Thursday was a special date for the history of Western music. 337 years ago, on the 31st of March, a child was born in Eisenach, a town located in Thuringia, modern-day Germany. His name was Johann Sebastian Bach, and he would become one of the greatest composers ever to live, even though most of his fame would be posthumous. Regardless, it has been of the utmost pleasure for me to dedicate one of my humble fugues to the birthday of Master Bach, in order to commemorate his art and work of such unfathomable abundance and heavenly quality as his spirit deserves. Link to the video:

Hi I took a phrase from one of Bellini's first operas Adelson and Salvini, and wrote this. When making counterpoint or fugues I don't care anything but how it sounds for me. Including the weird modulation.

For the last couple evenings I have invested most of my energy into finishing this fugue, which as shown below the title is coupled with an aphorism in Spanish, my native language: "Cuando cae el respeto a la muerte, decae la vida misma", which, leaving aside metaphorical extension, would roughly translate into English as "When respect to death is lost, so degenerates life." Even though said aphorism wasn't the main inspiration for this piece, I thought it was a nifty addition given the fatigue and withering emotions it was intended to wake on the listener. Since it is difficult for me to describe the nuances of this one as strictly "enjoyable", I guess the most appropriate closing expression for this one would perhaps be "feel existential" or something on those lines.

Four fugues and 3 preludes (or whatever these can be called.) The counterpoint and style is mostly quite free, I took a lot of liberties with harmonies and voice leading if I thought it was interesting, so there's inevitably going to be parallel motion, but I think I'd rather take that than make it bland. It's been quite a long time since I've written this kind of music so it was really refreshing to go back to "my roots" and have fun with it. As for technical matters, the subjects for the fugues, save for the first one, are strange on purpose. Specially C minor and the second double fugue subject in the D minor fugue. I mean, they're workable, but I'm constantly harmonizing "against" the subjects, so this leads to some pretty fun moments like a subject that's supposed to be in G minor tonic being harmonized in Ebmajor, stuff like that. It was pretty challenging to get all of this done and stay somewhat inside the style of instrumental counterpoint that I like. The double fugue in D was hard to write and it went on for longer than I had anticipated, even after cutting all the fat. If there's something I realized when writing these things is that I have very little tolerance for sequencing that is there for the purpose of padding out the runtime of the piece. So I try to never sequence anything more than 3 times, and I will vary the amount between 3 and 2 depending on context. It's one of the trappings on the style and I understand better now a lot of composers that worked in this style post-baroque times, specially within the context of a sonata's development episode vs the way sequencing is used in a fugue. Combining both things is very difficult from both a conceptual and technical point of view. In fact, I grouped these fugues together (I wrote them in sequence within the span of 2 weeks or so) and in the end I feel this is also sort of, kind of, like a sonata. Even if there's no "sonata form" in these, but then, I get the feeling that the DNA of the thing is more leaning in that direction than something like Bach. I purposely avoided reusing countersubjects when I could help it, too, as to give myself more freedom to write whatever was more appropriate within the context of that moment, but that also has the unintended side effect that the whole thing feels a lot more complex than it really is (certainly felt that way when I was writing it.) I get the feeling that a lot of the typical baroque counterpoint conventions and traditions end up being shortcuts to pad out time, so I kind of didn't want to use them. If anything was too "automatic" I would cut it and rewrite, and I did this the entire time when writing. I have no idea if that's something audible, but well there you go. As for the score, it's not completed yet. All the music is there, but I need registration markings and a bunch of other things that I'm not going to write until meet up with the person who will be performing these, so we can work out the details together at an actual organ. It's easier that way. Edit: Guhhh, fixed IV's key signature to something sane. oops. 01-fugue in e.mp3 02-fugue in h.mp3 03-fugue in c.mp3 04-fugue in d.mp3

Composed between yesterday evening and today afternoon, as inspiration finally came forth amidst the silent darkness of tedious stagnation, bringing along a burst of renewed hopes and a dusty fugal subject from my earlier days, forsaken inside a long-unopened folder up until now. Also, happy 337th birthday to J.S. Bach! (If he could hear me from Heaven...) Link to the video:

After more than a year of inactivity in this forum, I've decided to return and paulatinely post my compositions from this period. Starting with my latest fugue, which as shown on the score PDF file was composed just two days ago and has undergone a key set of minor details being changed since I published it on my YT channel. Enjoy! Fugue in C minor #5.pdf

Trying to get some experience writing counterpoint. Constructive feedback is much appreciated!

First Fugue of my work "Colours of the Fugue". Enjoy and feel free to leave advice and any constructive criticism.

First Fugue I ever wrote. Have been composing for 8 months. Have been inactive for the last 4 months so I decided to write a fugue to improve my counterpoint.