EPTOn January 03 2011 15:23 Khenra wrote:
Not to be a bitch, but doesn't a fugue have four interlacing melody lines?
It sounds nice, you should take the idea and extend it to like a two-minute song you can play to others
Not to be a bitch, but doesn't a fugue have four interlacing melody lines?
It sounds nice, you should take the idea and extend it to like a two-minute song you can play to others
it can be a fugue as long as it has at least 2 melody lines. This, however, isn't quite a fugue. Fugues are really, really strictly structured- your opening subject doesn't work as a fugue subject, since you have both melody and bass going from the very beginning.
Theoretically, you should introduce the subject of the fugue alone in one of your voices, then restate the subject, transposed to a related key, usually the Dominant (5th), while creating a counterpoint line (countersubject) in the voice that originally contained the subject. Once all the voices of your fugue have stated the subject, you have a bit more freedom. You basically continue to build on what you have, re-stating the subject and your countersubject(s), until you build to an ending, which should be a resolving cadence. A fugue on your subject could open something like This (sorry for the incredibly shitty sounding guitar playback; I don't play guitar well and my notation program is god-awful at playback)
It's hard to write fugues for things like the guitar, keys or just open-score are usually easier, as string instruments have some degree of limitation as to how many distinct lines you can play at once, which is the purpose of counterpoint. (see Bach's violin partitas for INSANE implied counterpoint on string instruments.)
I like what you've already written quite a bit as a theme and variations- it'd be fun to see what kind of stuff you could get from expanding it.
Hope this is helpful,
-Hobbes
