How to write a good fugue bach
Baroque composers like J. Fugues are interweaving, flowing lines of music based on a common musical theme. Now we can create the second countersubject, which will first appear in the alto and will help to fill in that "missing harmony" in the second bar. The last task, now that we see where the voices will be at the beginning of the third entrance, is to create the modulating link between the second and third entrances. It is like I have 2 things going on at the same time. And what does is sound like? Of course, you must create a subject.
And it isn't like I can get into Bach's shoes and look at my fugue the way Bach would unlike how I can easily be in Mozart's or Beethoven's shoes. We also have the task, in this example, of making sure we hit the F on the downbeat of the second measure to fill in that empty fourth.
I had a good subject but it was overwhelming to compose it and I forgot so much about the fugue that I am restarting it. Then I thought, why not?
How to write a good fugue bach
But I thought "That is just 2 measures, I should probably expand this melody at least to 4 measures" The countersubject also came to me very fast. I forgot I was working on the fugue but I had an idea of what to do. Composer, conductor and musicologist William Godfree was the talented chap who wrote a fugue called 'Fuga Camerata', a fugue based on that theme former Prime Minister David Cameron hummed when he entered the door of Number 10 Downing Street. Is there anything I can do besides what I am already doing to make writing a fugue easier? He'll never match Bach's fugue writing skill, but then, who will? We follow the traditional rules of counterpoint, which is to have primarily imperfect intervals on strong beats and to create contrary motion and contrasting rhythm between the two voices. Here, the subject is down in the bass register while the countersubject is quite high in the soprano voice. At very least, while you are creating the subject, you must hear a harmony in your imagination so that you are simulataneously creating a harmonic progression while creating the single-line melody. Don't elaborate or repeat it. In Schoenberg's Fundamentals of Composition, he refers to this cryptically as "the well known tendency towards smaller notes.
This rule I find the easiest to break and my thoughts on the subject and countersubject often lead me to not just octaves but parallel octaves.
Once the subject was chosen, I spent Sunday evening throwing together a fugue on it, annotating the score as I progressed.
How to write a fugue youtube
Here, the subject is down in the bass register while the countersubject is quite high in the soprano voice. It is like I have 2 things going on at the same time. I suggest Bach's Little Fugue in G minor. The first Bach fugue I can remember everhearing in my life, in grade school, and still dear to me. We'll bring it in here in the soprano. He'll never match Bach's fugue writing skill, but then, who will? And yet the two lines of counterpoint still complement each other in proper harmonic relationship, even though the two lines have been both transposed and inverted in relationship to each other. Of course, you must create a subject.
Three sections and around 10 steps in all. And yet the two lines of counterpoint still complement each other in proper harmonic relationship, even though the two lines have been both transposed and inverted in relationship to each other.
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