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Topic: Forever modulating Fugue

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  1. #1

    Lightbulb Forever modulating Fugue

    I have recently been studying the nature of the fugue.
    Here's my take on the art:

    Fugue in C major - (v.1.2, at least an improvement)
    http://www.soundclick.com/bands/defa...&content=music

    It starts of i C and then modulates through all the major scales of the cycle of fifths, moving clockwise.
    thus, C, G, D, A, E, B, F#, Db, Ab, Es, Bb, F, then at last returning to C.
    Regards Danial Zainali
    ___
    Reinvent powdered wigs!

  2. #2

    Re: Forever modulating Fugue

    Hi, Felixissimo

    What an interesting experiment/exercise you set up for yourself!

    I think the tempo, trills and tumult certainly well emulate the Fugue style.

    I hope you will pardon me, but the recording of what you've worked on is so cacophonous, it's a bit difficult to listen to. The Harpsichord is such a noisy, declamatory instrument, and all those characteristics are exaggerated when so much reverb is added to it. I strongly feel that if you chose a smaller room setting, and applied Much less wet signal - you would tame the sonics so the results aren't so assaulting.

    Because of the reverb, I can't be sure of exactly what I was hearing as you modulated through your cycle - but it seemed like I was hearing some strong and unsuccessful dissonances, notes still being played in a previous key when you had otherwise started the pattern in the next key. I mean that the modulations didn't seem to be smooth and working the way you intended - and I add again that part of this could be an effect of the reverb application.

    I hope this response is of some value to you. I admire the experiment - would like to hear it ironed out more.

    Randy B.

  3. #3

    Re: Forever modulating Fugue

    lol

    sorry about that. Yeah, something seem to have gone wrong somewhere
    I'll look into it.
    Regards Danial Zainali
    ___
    Reinvent powdered wigs!

  4. #4

    Re: Forever modulating Fugue

    That's fourteen times too much reverb!

    You need to employ transitional chords in order to smoothly bridge the key changes instead of abruptly jumping from one key to another to another...

    Try again.

    Regards,

    Larry
    Larry G. Alexander
    www.alexandermusic.com

  5. #5

    Re: Forever modulating Fugue

    Quite liked that Danial. It was a little bit muddy just at the beginning but it kept me hooked right the way through.

    Rgds.

  6. #6

    Re: Forever modulating Fugue

    Quote Originally Posted by Larry G. Alexander
    That's fourteen times too much reverb!

    You need to employ transitional chords in order to smoothly bridge the key changes instead of abruptly jumping from one key to another to another...

    Try again.

    Regards,

    Larry
    To much?? You should have heard it before

    ... btw, who said I wanted any smothly brigdes in my fugue?

    ah, heck, I guess you're right, better luck next time ey?
    Regards Danial Zainali
    ___
    Reinvent powdered wigs!

  7. #7

    Re: Forever modulating Fugue

    An interesting experiment, Danial. This sort of exploration,
    whether necessarily fruitful in this instance, is very worthwhile
    study toward techniques that will be useful in later work.
    Were it me, I think I would call this an etude, a study, in
    harmonic motion.

    I might suggest, too, that the harpsichord works somewhat
    against you as a choice of instrumentation. Again, just
    my opinion -- my thoughts about what I would do were
    I creating a similar exercise; however, I think if I was working
    with a solo keyboard, I would prefer the piano for this. And,
    I think, too, that it might work well if transcribed for the
    woodwinds.

    Keep it coming, Danial!

    All my best,


    David
    www.DavidSosnowski.com
    .

  8. #8

    Re: Forever modulating Fugue

    It's been 25+ years since I took any kind of fugue writing class. Honestly, I don't remember the basic compositional structures that make a fugue a fugue except that there's a lot of canonic, contrapuntal stuff going on. LOL! (Oh! When I did learn to write a fugue, it was "Fugue Writing According to Berklee" which, I am SURE, was a far cry from the more traditional methods of fugue writing! LOL!)

    I enjoyed the piece!! From a compositional point of view, I like the concept of tonal ambiguity. This piece definitely hits the mark for this. I hope you had fun writing this piece! I had fun listening to it.

    Happy New Year, by the way! Thank you for sharing your music!

    Ted
    Music and humor are healthy for the soul.

  9. #9

    Re: Forever modulating Fugue

    Quote Originally Posted by efiebke

    I enjoyed the piece!! From a compositional point of view, I like the concept of tonal ambiguity. This piece definitely hits the mark for this. I hope you had fun writing this piece! I had fun listening to it.

    Happy New Year, by the way! Thank you for sharing your music!

    Ted
    Well, thank you and happy new year to you to!
    And to all you others out there as well
    Regards Danial Zainali
    ___
    Reinvent powdered wigs!

  10. #10

    Re: Forever modulating Fugue

    I liked the overall concept of what you tried to do with this experiment. I probably heard your revised reverb edition. I didn't find the reverb distracting at all, in fact I thought it sounded very natural. As far as the modulation through all the keys, I found it a little too much to be comfortable. I think your average listener might feel completely overwhelmed and confused as to what has happened by the end of the piece. Like Larry mentioned, transitions were too sudden and too quick in succession. I think the ear has to feel well established in one key before attemting to move to another key. One great example of this can be heard if you listen to JSB's chromatic fantasie and fugue. The recording was very nice, how did you manage the sound of the plectrums falling back into the rack ? That was a great little gesture ! It is one pitty that the wonderful GPO harpsichord doesn't have release samples... maybe Gary will include it in some future library.....
    Kind Regards

    Louis Dekker
    My Music Site

    Pour être grand, il faut avoir été petit.

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