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A Prelude and fuge I composed

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  • Originally posted by Eddy67716 View Post
    What is the range of a cornet V that doesn't clash with the mutattions? e.g. Nazard and tierce.
    I have found out the in the lower register from C2 to Tenor C the cornet doesn't sound like the 2 2/3 and the 1 3/5 harmonics overpower anything; It just sounds like a bassoon.

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    • Originally posted by Eddy67716 View Post
      I probably need to find out what stuff I learned is right and what stuff is wrong.

      Counterpoint melodies should: (I presume that most of this info should be applied to other melodies.)
      have no melodic 7th intervals because they're too dissonant,
      have no augmented or diminished intervals like C to F# or G# but all others are good,
      compensate for jumps by moving back down,
      keep jumps within an octave, (If I remember right fugues should keep the subjects and counter-subjects within a rage of an octave too.)
      and have no arpeggios.

      Counterpoint harmonies should have,
      no 2nd or 7th harmonic intervals because they are also too dissonant,
      no forth intervals unless it is supported by a third below,
      no consecutive fifths or octaves,
      not too many consecutive thirds or sixths.
      no octaves after a fifth and
      generally have opposite moving voices.
      Write whatever you want. If something breaks one of or more of the above supposed rules, but it sounds good, do it anyway.

      Bach breaks the "keep the subject within an octave" rule in his Great Fugue in G Minor, BWV 542. This is widely considered one of his best. Somebody tried to modify the subject to fit within an octave; in my opinion the modification is lame compared to the original.

      Bach jumps up two octaves in the final incarnation of the subject of his Fugue in E Minor, BWV 914. In this case, I would rather (both playing and listening) he stayed low and only went up one octave, but it shows Bach did what he wanted and didn't conform to "the rules".

      The fugue from Toccata in D Minor has a lot of consecutive offsets by a third.

      I agree with those who say to keep things simple. Create a nice fugal composition with two main voices and sparse bass pedal notes, for example.

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      • Other things I've learned about counterpoint is that Baroque counterpoint generally has less rules
        Dissonant intervals on the weak beats (2nds, 7ths, diminished fifths, etc) don't have to be passing tones.
        You can have many consecutive thirds or sixths if you want.

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        • Originally posted by Ahti View Post

          Bach breaks the "keep the subject within an octave" rule in his Great Fugue in G Minor,
          Never seen this rule before. Not sure Bach had either.

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          • Here is my latest fugue.
            I experimented with a chromatic decent.

            Ed's_simpler_Fugue_in_C_minor.pdf

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            • Are there any main errors in my two voice counterpoint that I need to find and fix?

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              • Should the strong beats of a Fugue be built on Imperfect intervals? (E.G. major and minor intervals.)

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                • This is my latest fugue.

                  I did it in 6/8 time to try something different.

                  Ed's_tiny_fugue_in_D_flat_major.pdf
                  Attached Files
                  Last edited by Eddy67716; 05-11-2018, 03:43 PM. Reason: Added the wrong file.

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                  • This Fugue is my latest in experimenting with a lighter registration that is a bit bouncy.


                    Ed's_tyny_fugue_in_C_sharp_minor.pdf

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                    • This fugue has a full organ registration.

                      Ed's_tiny_fugue_in_D_major.pdf

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                      • Do I dare? https://musescore.com/user/10553021/scores/7125616

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                        • Congratulations Eddy, you have learned that the Answer to your fugue Subject needs to be in the dominant - scale degree 5. (You used to put it in the Subdominant - scale degree 4). It might not seem like much, but it goes a long way to making it sound more like an actual fugue.

                          Next step is to explore related keys more. You stay in "a minor" way too long for a piece of this length. In the Baroque period, you would leave the tonic (a minor) relatively soon and begin to explore. In any given minor key (i) the related keys would be III, iv, v, VI and VII. In the key you chose, those translate as a minor, C major, d minor, e minor, F major and G major.

                          A short piece might only get you to a couple of these, but your piece is so long, you need to explore these more. The key change things could probably be managed with simple transposition of some of the sections you have already composed. You would need to work on transitions between these various keys.

                          The other option is to treat the key changes more Romantically. In that case, you need to be exploring even more distantly-related keys.

                          Also, (I don't have the file open right now) you throw in a wild key change in the middle. In my opinion that doesn't work. If you had explored mildly spicy keys along the way, the wild key change would fit in, even though it would be wilder. As it is, you begin by presenting something mild, with either no key changes, or very subtle ones. Then you throw us for a loop that doesn't do your composition any justice. It's a bit like setting us up to ride bumper cars at an amusement park and then, for a short period of time, we're thrown into a Formula 1 racing car for a quick run, and then we're back in the bumper cars.

                          It's a fun idea, but it needs to be prepared. You have set us up to listen to a serious piece of music. That one key change distracts too much. I don't see the reason for this. It doesn't make any sense.
                          Last edited by regeron; 11-19-2021, 04:53 PM.

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                          • Regeron's right on the money with his analysis. My congratulations, too, Eddy! You spent the time and discipline to learn about music theory and playing on/writing for the organ, and your composition style is MUCH improved. Yes, there are still passages that need improvement, but you have come a long ways toward completion of your goal.

                            Keep up the good work!

                            Michael
                            Way too many organs to list, but I do have 5 Allens:
                            • MOS-2 Model 505-B / ADC-4300-DK / ADC-5400 / ADC-6000 (Symphony) / ADC-8000DKC
                            • Lowrey Heritage (DSO-1)
                            • 11 Pump Organs, 1 Pipe Organ & 7 Pianos

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