Page 1 / 1 Measure 1 / 9 00:00 Speed Instruments Fugue for 3 voices waszil Pro 485views | 9 favorites | 12 comments Download Share Favorite × Share Choose where you want to share: Link to this page Embed on your site × Download this score The score can be downloaded in the format of your preference: MuseScore Open in MuseScore PDF View and print PDF including parts Pro feature Full score and individual parts MusicXML Open in various software MIDI Open in editors and sequencers MP3 Listen to this score Your download has started. Having troubles downloading? Try again More of this, please? Follow to get notified when waszil has uploaded new scores. Or give a reward instead × Print To print parts, please upgrade to a Pro account first. Go Pro Select part Download PDF Print Uploaded on Mar 10, 2018 Small fugue for 3 voices. I marked the subject entries with blue. Using the JEUX soundfont (http://www.realmac.info/download.htm). fugue Pages 2 Duration 02:01 Measures 26 Key signature 2 sharps Parts 3 Part names Strings(3) Privacy Everyone can see this score License Attribution, non-commercial Show more Show less This score appears in: My original compositions (set) Original Classical Composers Club (group) Original Compositions (group) Counterpoint and Fugue (group) Show more Show less Your comment Comments [user=18902116]Kiserlet[/user] Ez igen szép. Az egyetlen igazi "hibája" a tonális válasz hiánya (melyet a stílus elméletben megkövetelne); a többi apróságot, amit a kommentekben már leírtak, percek alatt lehet korrigálni. [user=1831606]BSG[/user] The end of 16 could be fixed very easily by extending the F# in the soprano by an eighth, to make a suspension of the (augmented) fourth over the bass C, resolving in the last eighth-note of the measure to E. This would make the consonant alto A a perfectly-prepared suspension into the next measure as you intend, without parallel fifths. [user=1831606]BSG[/user] 17 is very beautiful and PERFECT now!!, but 16 needs a lot of work; the last beat has both parallel fifths in approach and exit, and a 6 against a 5 both being treated as consonances. The first G# in the bass would be much better G natural given what follows. In 13, the first beat of the soprano could be C# tied (resolving 9-4 in parallel eighth-nots with the alto), or B 3/8 note, becoming a seventh on the second beat resolving to the A#. There are many solutions here. [user=1831606]BSG[/user] Before I say anything else, I want to say "Bravo!!" This is absolutely gorgeous, well-planned, and well executed. It reminds me very much of the A Major organ fugue, BWV 536.2. Fuguemeisters would have a few gripes, though. A subject which starts focused on the dominant like that wants be answered on the tonic (D), not the supertonic. That contributes to the entry on the 6-4 chord at m.5; that 4th/6-4 chord do not pass muster in this style; ditto the one on the second beat. 13 has the right idea for bass entries of this subject, but is marred by a parallel 5th 1st/2nd beat. Parallel 5th S/B in the middle of m. 10 as well. This is beautiful. Please do it over again without the parallel fifths, and with tonal answers as practiced in the Baroque (see my posting on the Counterpoint group page for a source with many examples). Again, bravo. This is beautiful. [user=4900541]waszil[/user] Thank you very much! I will check these remarks that you wrote. [user=1831606]BSG[/user] There are other issues, the fourth in the alto at the end of 16 and the 6-4 on beat 2, and there are other parallel fifths. But it's beautiful. [user=4900541]waszil[/user] I have fixed (I hope) the parallel fifth in m10 and the last beat of m16, but actually in m13 I quite like the second fourth, this diminished chord. I guess I could change the soprano from G to B, and it would sound nice, but I like this diminished better, even if it is causes a parallel fifths, I don't know how to remove that one. [user=1831606]BSG[/user] I don't see a fourth or a diminished chord in m. 13 as it stands now. The seventh C-B that resolves to the sixth C#-A# should be prepared, i.e., the B must start earlier (perhaps the beginning of the measure), but otherwise m. 13 is ok AFAICT. Do you mean 16? There is nothing wrong with diminished chords. [user=4900541]waszil[/user] the problem is that my Musescore has crashed and I cannot upload it right now, it is some in-progress version that has been uploaded, it crashes when trying to upload the audio... [user=1831606]BSG[/user] You've created a parallel fifth (B-F# -> C#-G#) in 13. There's a parallel octave in 17 at the corresponding place. Please let me know if you want me to continue finding such issues or not. [user=4900541]waszil[/user] I have refactored the stretto section in 17-18. But in 13 I don't know how I could eliminate this parallel fifths without losing this chord progression from Bmajor to Cdiminished. You are very welcome to annotate these issues, I do learn a lot from you :) [user=1831606]BSG[/user] It's not C diminished, or C# diminished, it's A# diminished (A# - C# - E), by the way, in the first inversion, which is by far the most common use.