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Thread: A Prelude and fuge I composed

  1. #181
    p Piano andijah's Avatar
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    The theme is an 8 bar melody and the answer is 8 bars, too. But then the next section is 6 bars only, followed by another 8 bar section. Confuses me a bit.

  2. #182
    pp Pianissimo Eddy67716's Avatar
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    I thought if the codetta was a different length it would stop the song from being too monotonous.

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    Quote Originally Posted by regeron View Post
    -- the constant use of 8-measure phrases is boring.
    That's why.

  3. #183
    pp Pianissimo Eddy67716's Avatar
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  4. #184
    pp Pianissimo Eddy67716's Avatar
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  5. #185
    pp Pianissimo Eddy67716's Avatar
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    Quote 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.

  6. #186
    ppp Pianississmo Ahti's Avatar
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    Quote 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.

  7. #187
    pp Pianissimo Eddy67716's Avatar
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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.

  8. #188

    Quote 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.

  9. #189
    pp Pianissimo Eddy67716's Avatar
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    Here is my latest fugue.
    I experimented with a chromatic decent.
    Ed's simpler fugue in C minor (StAnnesMoseley).mp3
    Ed's_simpler_Fugue_in_C_minor.pdf

  10. #190
    pp Pianissimo Eddy67716's Avatar
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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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