I really like this!! =) great job. I am a also a musician if you’re intrested in checking out my channel. I have my origonally composed songs on my page. But again, this was quite enjoyable! I’ll be sure to check out more of your songs..
I practiced this piece on-and-off for the past several days and am finally able to play it moreorless. I will be performing this work at the West Coast Student Composers Symposium at SFU, Burnaby (BC, Canada) on January 29. So excited!
Perfectly!
I was thinking how it would be in the other way… like… you know, you can overlap subject and answer in the exposition if it is for a single note, plus, here, the subject’s length is up to you, so one could just make the subject end with E and consider the A a free part, right when the answer starts on A too… The fact is, I really like that codetta, very Bach-like, and the ensuing asymmetry (4+1=5 bars, 7 for the second entry plus episode) is very beautiful, so, best choice IMHO
My choice of a real answer is mostly due to, as you had suggested, harmonic modulation needs. This is often the case of fugue whose main subject (i) ends in tonic tonality, and (ii) ends on its own without overlapping with the next idea.
As you can see, as the composer, I have set the length of the subject to be four bars (personal taste). Since the subject ends on the beginning of the fourth bar, it calls for a little codetta, which allows enough time to (cont’d)
This is a good work indeed!
Can you clarify why you chose a real answer instead of a tonal one (first pitch A instead of B mutating as required) – I personally kinda like real fugues, however, and also in Bach this is not uncommon. Personal taste? Harmonic manipulation needs? Thanks in advance
@mikejr41387 It’s actually played by my computer, but if I was able to fool you into thinking it was a human recording, then I guess I must have tweaked it pretty convincingly.
@chunhao921 Haha, that’s too flattering! Bach would probably find a lot of counterpoint errors.
Yes, that is correct. I have changed a few notes in bar 47 just for personal preference. But in retrospect both versions sound okay to me. I will leave it up to the performer to decide which version to follow.
A little contrapuntal sidenote: Both versions have parallel octaves in the upper voices. It is less obvious in the video version because of the shifted rhythmic emphasis of the G#.
Yes, it’s possible. I have found in Y Tube, in other channels, score-videos out of focus too, but others videos with the image fine. maybe there´s a secret in that.
Anyway, in your video we can recognize the notes in the score well.
@codonauta Yeah, I don’t know what happened. When I first uploaded it it was much sharper. Perhaps YouTube made some modifications to their video application.
@kastlesucksTDOTS Yes. Check out the video response posted by mariateresaramos248. She has done a wonderful rendition.
@zeryx28 is this playable?
Great!!!
I really like this!! =) great job. I am a also a musician if you’re intrested in checking out my channel. I have my origonally composed songs on my page. But again, this was quite enjoyable! I’ll be sure to check out more of your songs..
@supermariozaken That would be me. =)
who was the genius who composed that?
I practiced this piece on-and-off for the past several days and am finally able to play it moreorless. I will be performing this work at the West Coast Student Composers Symposium at SFU, Burnaby (BC, Canada) on January 29. So excited!
that is great! i love these ideas of making complex compositions from simple tunes! congratulations!
Perfectly!
I was thinking how it would be in the other way… like… you know, you can overlap subject and answer in the exposition if it is for a single note, plus, here, the subject’s length is up to you, so one could just make the subject end with E and consider the A a free part, right when the answer starts on A too… The fact is, I really like that codetta, very Bach-like, and the ensuing asymmetry (4+1=5 bars, 7 for the second entry plus episode) is very beautiful, so, best choice IMHO
modulate to the dominant key. And so it would be logical to have a real answer, since we are already in the dominant? key.
Hope that answers your question.
@PaoloDelLungo Thank you!
My choice of a real answer is mostly due to, as you had suggested, harmonic modulation needs. This is often the case of fugue whose main subject (i) ends in tonic tonality, and (ii) ends on its own without overlapping with the next idea.
As you can see, as the composer, I have set the length of the subject to be four bars (personal taste). Since the subject ends on the beginning of the fourth bar, it calls for a little codetta, which allows enough time to (cont’d)
This is a good work indeed!
Can you clarify why you chose a real answer instead of a tonal one (first pitch A instead of B mutating as required) – I personally kinda like real fugues, however, and also in Bach this is not uncommon. Personal taste? Harmonic manipulation needs? Thanks in advance
@mikejr41387 lol nah. I take it as a compliment that my amateur audio editing skills are somewhat convincing, is what I meant to say.
haha dammit…. obviously a computer… what a dumbass imust be
@mikejr41387 It’s actually played by my computer, but if I was able to fool you into thinking it was a human recording, then I guess I must have tweaked it pretty convincingly.
wow great job… and very elegant playing as well
@chunhao921 Haha, that’s too flattering! Bach would probably find a lot of counterpoint errors.
Yes, that is correct. I have changed a few notes in bar 47 just for personal preference. But in retrospect both versions sound okay to me. I will leave it up to the performer to decide which version to follow.
A little contrapuntal sidenote: Both versions have parallel octaves in the upper voices. It is less obvious in the video version because of the shifted rhythmic emphasis of the G#.
agree, maybe bach is wondering if he had composed 3-part invention no.16!
p.s.bar 47 is a little different from the version offered in the website(audiomuse), which one do you prefer, Lo?
bach would rise from his grave and kiss you on the lips this is so brilliant
@bersa888
Agreed. Very clever.
@Musichato That is correct.
The original song is named Gran Vals and it’s a guitar piece by Francisto Tárrega.
Yes, it’s possible. I have found in Y Tube, in other channels, score-videos out of focus too, but others videos with the image fine. maybe there´s a secret in that.
Anyway, in your video we can recognize the notes in the score well.
@codonauta Yeah, I don’t know what happened. When I first uploaded it it was much sharper. Perhaps YouTube made some modifications to their video application.
The score is a bit out of focus.