Bach´s Fugue Options

[Tolek]

Hey guys,
my harmony homework was to continue a fugue from Bach. Our teacher gave us only the first few bars (the theme played by the second voice) and we had to write the continuation (answer in the first voice) of it and a counterpoint to it.

Here´s the result.  Bach.mid ( 1.62K ) Number of downloads: 191

I know there are some bad harmony mistakes but it sounds cool, I think. I made another version that is preciser.

Please comment.

Cheers,
Tolek

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[Ramiro Delforte]

That's good

I've made some changes trying not to change too much to give you another version.

*The harmonic minor is rarely used because of the augmented 2nd. So if you look to one of the last bars I've changed it to sound more in the style.

I hope you don't mind that I took the presumption to arrange your arrangement.


- The site don't let me attach the file, I'll try later-

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[IDontWantMyUsern...]

That's good

I've made some changes trying not to change too much to give you another version.

*The harmonic minor is rarely used because of the augmented 2nd. So if you look to one of the last bars I've changed it to sound more in the style.

I hope you don't mind that I took the presumption to arrange your arrangement.


- The site don't let me attach the file, I'll try later-

Did you mean the augmented 7th or have I missed something?

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[Gerardo Siere]

Cauld you give us the paper version of what did you excactly write. And what species in counterpoint should be used or any other specification from the exercise.

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[Ramiro Delforte]

In the harmonic minor you have an augmented 2nd between the 6th and 7th degree of the scale.
Ex. in A: A - B - C - D - E - F - G# - A

Between the F and the G# you have an augmented 2nd.


Finally I can upload the file

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This post has been edited by Ramiro Delforte: Nov 28 2008, 01:30 AM

[IDontWantMyUsern...]

In the harmonic minor you have an augmented 2nd between the 6th and 7th degree of the scale.
Ex. in A: A - B - C - D - E - F - G# - A

Between the F and the G# you have an augmented 2nd.

Ah, I thought you meant that G# was A's augmented 2nd

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[Tolek]

Thanks for your great answers, guys. Today, my teacher corrected it. I wrote an incorrect answer... I´ll give it another try now.

@Ramiro: Thanks for your arrangement. Sounds really nice. I forgot that there was the aelion mode that one can use.

In some minutes, I´ll post another version.

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[Ramiro Delforte]

You're welcome!

I'll be waiting for the new arrangement

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[Tolek]

I finished for today... it´s not that long and good, but I am really sleepy and want to go to bed now.

 Bach2.mid ( 1.54K ) Number of downloads: 163


And here are the notes of that version.
 Bach2.pdf ( 63.3K ) Number of downloads: 2037

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[Ramiro Delforte]

Well, you have somethings to mention in that composition.
Do you play any keyboard instrument?
If you took a look to the previous file that I've sent you I changed the register of one of the voices not because I liked better, I changed because it's playable that way. Here you have the same problem, the voices cross sometimes and it makes difficult to play and is not in style. I assume that the 3rd voice is the pedal of the organ but the upper voice should be in treble clef and transposed to an octave higher to avoid that problem.
In bar 9 you have an empty chord root-fifth-root, that's not in style either. To change that you should get the D of the upper system to an F and that gives you a complete chord. That same thing happends in the 3rd time of the same measure. The rule of traditional harmony that says that the chord should be complete is because when you have your ear trained to listen that kind of music when you listen root-fifth-root the chord sounds empty (new psicoacustic theories says that the fifth is the interval more close to the root so that emptyness is a product of that, in the time of Bach the spectral analysis wasn't that advanced but they tend to hear it that way).
Something similar happends at the end where you have all Ds. I think it would be better to complete the chord.

I hope those things help you. Just let me know if you want me to do a version and I could take a time a do one.

Practice make a good composer

Keep'em comming.

Very good so far

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[Tolek]

Well, you have somethings to mention in that composition.
Do you play any keyboard instrument?
If you took a look to the previous file that I've sent you I changed the register of one of the voices not because I liked better, I changed because it's playable that way. Here you have the same problem, the voices cross sometimes and it makes difficult to play and is not in style. I assume that the 3rd voice is the pedal of the organ but the upper voice should be in treble clef and transposed to an octave higher to avoid that problem.
In bar 9 you have an empty chord root-fifth-root, that's not in style either. To change that you should get the D of the upper system to an F and that gives you a complete chord. That same thing happends in the 3rd time of the same measure. The rule of traditional harmony that says that the chord should be complete is because when you have your ear trained to listen that kind of music when you listen root-fifth-root the chord sounds empty (new psicoacustic theories says that the fifth is the interval more close to the root so that emptyness is a product of that, in the time of Bach the spectral analysis wasn't that advanced but they tend to hear it that way).
Something similar happends at the end where you have all Ds. I think it would be better to complete the chord.

I hope those things help you. Just let me know if you want me to do a version and I could take a time a do one.

Practice make a good composer

Keep'em comming.

Very good so far

Wow, thanks a lot for this great answer. Normally, I know these things but while composing I don´t pay attention to them. I´ll write another version today maybe and post it.

You don´t have to do a version, I understand everything very good.

Thanks again, you are great.

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