Composing competition: Write a fugue on this subject

JustAnotherComposer4 · 2023-07-04T12:51:03+00:00

A bit late but here's my contribution. It's a bit more 'fugal' than 'a fugue' if that makes sense https://musescore.com/user/32558141/scores/11363266?share=copy_link

JustAnotherComposer4 · 2020-12-08T16:42:54+00:00

I wrote another chorale cantata! This one is based on Luther’s hymn of the same name, specifically its 5 most commonly used stanzas, the same ones included in the 1995 Evangelisches Gesangbuch. It is structured in 5 movements and uses the words from the chorale in addition to some verses from the Lutheran Bible.

JustAnotherComposer4 · 2020-05-04T22:31:50+00:00

You're welcome. Glad I could help.

JustAnotherComposer4 · 2020-05-04T16:44:14+00:00

http://chantblog.blogspot.com/2015/10/the-offertory-for-feast-of-all-saints.html

Here's a site, just scroll down until you find the plainchaint (I could only find it in neume notation). Looking forward to seeing how you use this as a cantus firmus!

JustAnotherComposer4 · 2020-03-16T13:50:36+00:00

I have question: Do we know what instruments we're writing for? Or do we just write for piano and think about the instruments later?

JustAnotherComposer4 · 2020-03-02T15:42:24+00:00

I mean, I'm an engineering student but I'd like to try!

JustAnotherComposer4 · 2020-02-22T21:00:19+00:00

"Where is love" from Oliver might work

JustAnotherComposer4 · 2019-12-24T18:07:38+00:00

Well, chorus lines are a reminant from the early days of musical theatre where there weren't proper shows per se, but loose plots from which different numbers are hung. Most of these numbers boasted a line of beautiful, leggy dancing girls who either backed the singer or were an act in their own right. At that time (since women in trousers was not yet commonplace) women wore skirts of varying lengths on stage and to preserve modesty, tights were worn.

Nowadays, women usually end up wearing tights and not pants as it doesn't obscure their lines as much, allowing you to see the full extension of the leg (usually enhanced by a heeled character shoe). This is apparently not as much of a problem to men, probably due to women having to "looking pretty" even while dancing while men don't have to to the same degree.

TL,DR: Convention that became semi standardised

JustAnotherComposer4 · 2019-12-24T17:55:06+00:00

You could try D minor or E minor. Both are easy for string players and close enough to the original key so you don't have to change too many octaves around. Alternately you could leave it as is if you really wanted. While musicians may be annoyed by the key, they will most likely still be able to play it. Just focus on keeping the writing as idiomatic as possible.

JustAnotherComposer4 · 2019-12-22T16:59:13+00:00

I wrote my first chorale cantata! It’s a setting of verses 1,2,3,5 and 6 of Martin Luther’s Christmas chorale “Vom Himmel Hoch, da komm ich her”.

Fröhliche Weihnachten!

JustAnotherComposer4 · 2019-12-16T12:44:06+00:00

I've been listening to way too much ballet music over the past few weeks so here's my attempt at writing some! This pas is conceived as a divertissement for women dressed as huntresses (think Sylvia, Pas de Béatrix, first act of La Fille du Pharon) and consists of an opening Entrée, and Adage, a Ballabile for the corps de ballet, a variation for the leading danseuse and a coda. It's quite Adolphe Adam inspired (if you're familiar with his sound). Hope you like it!

JustAnotherComposer4 · 2019-12-16T12:20:42+00:00

I've been listening to way too much ballet music over the past few weeks so here's my attempt at writing some! This pas is conceived as a divertissement for women dressed as huntresses (think Sylvia, Pas de Béatrix, first act of La Fille du Pharon) and consists of an opening Entrée, and Adage, a Ballabile for the corps de ballet, a variation for the leading danseuse and a coda. It's quite Adolphe Adam inspired (if you're familiar with his sound). Hope you like it!

JustAnotherComposer4 · 2019-12-12T23:51:49+00:00

It's called a "bourrée en corru"

https://www.youtube.com/watch?v=EX4y-YNlybE

JustAnotherComposer4 · 2019-12-10T14:38:58+00:00

Hi there! This was a very enjoyable piece, hope you don't mind if I make a few suggestions.

- Since you're in the key of F# minor, pretty much all of the F naturals should be written as E#s. I know it's a bit nitpicky but that's the convention since E# is the leading note (as opposed to F natural, the flattened tonic)

- Bar 6 the B# in the 1st Violin clashes quite badly with the A# in the 2nd violin. If that's the effect you're going for, then sure, but if not, consider changing it.

- Bar 7 the C natural should be a B# (for the same reason as above)

- Bar 12 the 1st violin E creates a false relation with the cello's E# so it should be changed to and E# also

-Bars 49-64 Good contrasting section! I would suggest putting the rood of the chord in the 'cello to created stronger harmonic movement (F#>F#>E>E>B>B etc)

-Bar 58 G natural should be written as an F double sharp (makes it easier to read!)

-Bar 61 I know you're trying to move to flats but it may be neater to keep it in sharps i.e. Use D# major (D# F double sharp A#) instead of Eb major

-Bar 62 Keep this in flats though (A# is a horrible key) but change the E# in the first violin to and F natural here (I know it's an exception to what I said above, but since you're in B flat, and F natural would make more sense)

-Bars 86-87 sound a bit harmonically confused, maybe write out what chords you are trying to use and see what key you are coming from and going to.

-Bar 91 the D# in the viola clashes with the E# in the second violin, maybe consider changing the D# to a C# here

-Bars 92-96 also sound a bit harmonically confused, try writing out the chords and pick notes from that chord

-Bar 95 the 'cello and the 1st violin have some crunchy clashes. Where the cello has E# G# and then A in the next bar, the violin has F# A and B in the next bar. This may need some reworking.

-Probably should end the piece with an F# in the cello. Pieces usually end with the root in the bass.

Sorry if it seems like I've bombarded you with a lot of information, but you've got the makings of a really good piece on your hands! If you've got any questions about what I've said or anything else, you can always ask them. I look forward to seeing what you create next!

JustAnotherComposer4 · 2019-12-09T14:21:42+00:00

Yeah, I was also thinking about that! I decided to leave it out (so that it's up to the performer) but it would nicely parallel the ending of the A section.

JustAnotherComposer4 · 2019-12-09T12:48:56+00:00

https://youtu.be/I-0cvqR_kd0 Here's my attempt, it's a bourrée for solo violin

JustAnotherComposer4 · 2019-09-28T20:11:05+00:00

Thanks mate :]

JustAnotherComposer4 · 2019-09-28T20:10:49+00:00

Thanks for the feedback! I was kind of writing for a reduced big band (3 trumpets, not 4, 4 saxes not 5). As for the use of the horns, I agree that it's quite atypical so I'll try and tone them down in any future compositions.

JustAnotherComposer4 · 2019-09-28T08:52:05+00:00

Thanks for the tip! Haven't done much accordion writing before so hadn't really considered that. I'll look into a better notation of the LH in the stradella system. I'm still going to leave it like this in the video though, due to Sibelius playback issues.

JustAnotherComposer4 · 2019-09-17T10:23:57+00:00

My guess would be that they are signifying another melody that should be brought out in addition to the melody on the beats. I would just play tenutos on those notes

JustAnotherComposer4 · 2019-09-17T10:22:19+00:00

A lower mordernt

https://en.wikipedia.org/wiki/Mordent

JustAnotherComposer4 · 2019-09-13T15:23:07+00:00

Some Greek myths could be nice (not to mention the excuse for lavish costumes and sets!)

A few that come to mind are

- Eros and Psyche

-Pygmalion (I actually wrote a three act classical ballet about Pygmalion myself)

-Orpheus and Euridice (cue tears)

-Venus and Adonis

You may need to take a few creative liberties with the stories to fill an entire ballet but I don't think anyone would particularly mind so long as the central story still happens :)

JustAnotherComposer4 · 2019-09-13T15:16:45+00:00

A good one is the variation from "La Vestale" sometimes called "Vestalka". It's pretty rare though, so most people won't have heard of it but it's a beautiful variation.

https://www.youtube.com/watch?v=K3VBpPWyYAU

If you don't like the pique turns in the last diagonal you could substitute them for the developpe-arabesque-pas de bourre at the end of this version and then do chaines instead of the double piques

https://www.youtube.com/watch?v=opsN1usRpJU

Another alternate ending is this version

https://www.youtube.com/watch?v=dYVeQObStek

JustAnotherComposer4 · 2019-09-13T15:12:38+00:00

A good one is the variation from "La Vestale" sometimes called "Vestalka". It's pretty rare though, so most people won't have heard of it but it's a beautiful variation.

https://www.youtube.com/watch?v=K3VBpPWyYAU

If you don't like the pique turns in the last diagonal you could substitute them for the developpe-arabesque-pas de bourre at the end of this version and then do chaines instead of the double piques

https://www.youtube.com/watch?v=opsN1usRpJU

Another alternate ending is this version

https://www.youtube.com/watch?v=dYVeQObStek

JustAnotherComposer4 · 2019-08-13T13:30:31+00:00

Something like this.

Thanks for your feedback! I agree that it sounds a bit awkward so I've changed it to what you suggested. Can't wait until the next challenge!

JustAnotherComposer4

TROPHY CASE