How to innovate the art of the fugue

Topic: How to innovate the art of the fugue (Read 4255 times) previous topic - next topic

How to innovate the art of the fugue

2012-02-06 09:13 pm

" Thiz ix an example short fugue made with NWC 2.0 with the soundblaster soundcard though it might still sound good on realtek. It exemplifies the discipline of the art of fugue while at the same time an innovative approach using the simple articulative tools of noteworthy kompozer. I post thiz 2 give an ideology, a hint of how much the fugue could be enhanced which ix what i've been trying to do 4 a long time since i sometimes get not an annoyance but an awakening hear over & over the same old laws of counterpoint. I hope you enjoy it, & if you want to open a dialogue concerning thiz topic, please e-mail me. "

P.S. " I've also included the entire score( Prelude & Fuga ) also in the motive to present fugal renovation. "

Re: How to innovate the art of the fugue

Reply #1 – 2012-02-12 08:18 am

I don't wish to enter into a dialogue about musicality, I'm not qualified, and I liked what I heard in both pieces. I thought it might be an idea to point out a couple of technical concerns for your future reference.

Bar 3 of the right hand part of the Praelidium is harder to interpret than it needs to be because you dotted the first quarter note instead of tying a quarter to an eighth. If you used a tie, beat 3 would be easier to find. Not a problem, perhaps, on a piano score where the left hand part clearly shows the beats, but if you were extracting parts for an ensemble, it could help your musician.

In Bar 7, right hand, the second dotted quarter chord would be clearer if shown as an eighth tied to a quarter. Same reason - you don't want to hide the beat.

In Bar 27, you might find a ritardando works better than the step-down tempo change in the middle of the bar. I'd put the rit. immediately after the first eighth note. NWC will calculate how much it needs to slow each beat to get to the target tempo in Bar 28.

You should use a double bar line before each key change. It makes it easier for the reading musician to notice it.

Re: How to innovate the art of the fugue

Reply #2 – 2012-02-14 10:20 pm

" Thank u very much David for your informative review. Your right, i did not take into account full consideration to the performer besides avoiding impossibilities like unisons & so on & forth. Yes, a ritardando would work well, it was just a tool in tempo i picked-up from a nwc score not composed by me a while ago since i like conscious awareness of numerical precision of tempo changes in a score. I didn't know a double bar line regarding scale changes was useful, thank u. It ix because i do not compose for others to perform my works, so i never have the need to be considerate to the performer. "