#1
This is my first fugal composition, although it doesn´t adhere very strictly to the baroque definition of a fugue(etta).

I wanted to convey mania, sadness, beauty and anger in this peace, hopefully I have succeeded.

Measure 20 is rather meh and possibly too sudden, any tips on what to do there are much appreciated. I hate the octave double of D.


It´s intended for four hands, or I guess, two superhuman/Rachmaninoff hands

MP3 is in my profile, link .

Will naturally return critique.


EDIT: only a minute long so a quick listen!
Attachments:
Fughetta for Piano, no 1.pdf
#2
well, it sounds good...

beauty sadness and anger really don't come through for me though...

it just sounds very archetype of classic music... especially sadness i didn't feel that at all... beauty is the only one that i had a wisp of, and that might have just been b/c of the piano...

if you want to add sadness (and depth) you should add in some violins.

https://www.ultimate-guitar.com/forum/showthread.php?t=1241003 c4c
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Last edited by `NeXxuS` at Dec 6, 2009,
#3
I'll admit it's a great piece, but it could have been wayyy better. The potential of the emotions you wanted to express is there, but you can't feel them that well. There's a lack of those emotions, and I think it's because you didn't use the correct tension in the piece. I'm not saying that the harmony structure is not full of tension, the harmony of the piece is fine, what I'm saying is the tension that the rhythms and melodies can create. You didn't apply melodic or rhythmic tension, you have to play a lot with that to be able to use it well and it will give so much life to the piece.
Another thing that could have been added is a 3rd melody on top of the other 2 melodies being played, I know you have 2 hands but 3 melodies at the same can be played, you have to use your hands very well for this. Even a 4th could have been added to make things more interesting and more expressive.

And to the guy above me, no, you don't necessarily need a violin to add that expression. Applying tension ideas to just a piano is enough. I think that is the point of this piano piece, to only be played on the piano.

There's a lot of potential in this piece, to me it's like an unfinished piece of music.
8/10
D F O I N N T D
T W H O I R S D
Y O O R U
W S I U L C L K
A M S Y S

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Last edited by XxLloydxX at Dec 6, 2009,
#4
Quote by descara
two superhuman/Rachmaninoff hands

I'm sure it can be done with two hands with enough practice

Very enjoyable listen. Of all the moods you described it as, I felt mania the most and thought the other moods were a bit suppressed. Though I also understand that only the composer of a piece can only truly understand the meaning of the notes and passages

After several listens, measures 17-20 really caught my attention. Very opening and beautiful passage. A very continuous and flowing work for the piano with a suitable ending on the tonic.

7/10
#5
very enjoyable piece. i definitely picked up on the 'mania' in this piece, and i suppose beauty was conveyed in a way, but i did not feel any of the rest from your list.
i felt very on edge while listening to this piece. the combination of dissonance and quick tempo work together to create something like a sense of urgency. very nice
i must admit that i am not very familiar with classical music, but it sounds like a good start.
good work
#6
Much thanks for the feedback and critique everyone!


About the moods, the "mania"-feel is to be dominating by far, however contrasted by the more beautiful, melancholic episode (in retrospect, melancholy is a much more fitting word than sadness) and towards the end, escalate into a maniacal rage/anger of some sort... if that makes sense I´ll see what I can do to bring out the emotions better. I might add longer episodes (parts between the repeats of the subject) and some more contrast.


Quote by XxLloydxX
I'll admit it's a great piece, but it could have been wayyy better. The potential of the emotions you wanted to express is there, but you can't feel them that well. There's a lack of those emotions, and I think it's because you didn't use the correct tension in the piece. I'm not saying that the harmony structure is not full of tension, the harmony of the piece is fine, what I'm saying is the tension that the rhythms and melodies can create. You didn't apply melodic or rhythmic tension, you have to play a lot with that to be able to use it well and it will give so much life to the piece.

8/10



I see what you mean about rhythmic tension, but I can´t really see what you mean about melodic tension - the melodic tension is prevalent in most parts, and the harmony (and the tension created thereby) secondary to the melodic tension as well as, first and foremost, to the melodic interaction/counterpoint. The melodic lines are mayhap not great, but they are still driven by melodic tension.

I´ll freely admit though, that the strongest occurrences of melodic tensions could be much more accentuated, but I have a hard time seeing how that would be possible without slowing down the flow of the piece in a few places (not actually slowing DOWN the piece itself, but rather, rhythmically accentuating the melodic tension further), which conflicts with what I originally desired with this piece - I´ll look it over though, it might work to bring out the individual moods better.

I don´t know if adding a 5th voice to the piece would add much - in the climax, where the four voices sound together, it´s quite "full" contrapuntally. I might look into it anyway.

Quote by `NeXxuS`


if you want to add sadness (and depth) you should add in some violins.




Violin would really mess with the texture like there was no tomorrow - the point is a bit, as said, for all voices to be played by piano. Counterpoint for different timbres is kicking it up to a whole new level (and nothing that I´m very capable of yet).

Also, I will get to critting your song tomorrow. Sorry for the huge delay!


@Zaphikh

Yeah, I was hoping the bar 17-20 would catch people attention! It was supposed to be an outlet of sort, and add a contrast of beauty/melancholy.

Unfortunately, bar 18 and 19, with a 10th between the sopran/alt and alt/bass respectively is quite the physical restrain for playing it - even if one can play a tenth with the same hand, playing the consequent steps without it sounding craptacular is pretty much impossible I´d say for those who don´t have huuge hands. I´ve been attempting to rewrite that part to something more playable several times to no avail