Fugue composed with musesc... uhm Finale 2012… 

lol I guess the musescore nerd community would prefer a digital one :DD... I guess that's just the style

haha, I gave it several tries but I couldn't get my head around this thing, it is deffo a strange bird isn't it? Writing two-voice fugues was a common method in the Parisian conservatory though and Chopin actually had a copy of Cherubini's fugue book, I think this one: imslp.org/wiki/Cours_de_contrepoint_et_de_fugue_(Cherubini%2C_Luigi) And as far as I know Chopin entabulated at least 2 or 3 fugues of that book into a piano score to play/study: several of the fugues are printed in multiple cleff scores (which tells me that he probably wasn't able to read different clefs from a score, interesting isn't it?) The A minor fugue is probably a product that emerged from these counterpoint studies... As I said, I find this a pretty enigmatic piece: to me it doesn't really show any individual or even "chopinesque" features but seems more like a pretty abstract composition where the aspect of "style" is kinda absent (which, in turn, is a a characteristic feature of the "conservatory fugue") I can't really relate to people who say that it is a "genuine Chopin" that seems more like a projection.. I mean: who, when hearing this piece on the radio withough knowing what it is, would recognize it as a Chopin lol? Nevertheless it seems to be a "true" Chopin as although being a study it shows a lot of twisted stuff haha that points to the musical mind of Chopin... Isn't he very rough and abrasive sometimes? BTW I know an interesting recording of it, by Natalia Janotha, at the beginning she's like improvising a short introduction (kinda exactly like Czerny described in his manuals): ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-lGOkssDoqEk.html enjoy :D

"Trust me dude, if you memorize 23451 macros and equally as many convoluted key combinations to do basic things your workflow would be so much better" - Dorico bores, probably

HAHAHA megalol

lol I intentionally wanted to take part in the musescore composers community and in this bubble the piece usually is presented as digital performance… 🥳

Ja, da müsste etwas auf der Kanalhauptseite stehen. Schau mal nach. Momentan ist es allerdings ziemlich voll

thanks man✌️ …but what is a cargo cult fugue??? I saw videos by a guy bragging about their „complex double fugues“ in the title, whilst having already parallels in the thumbnail LOL… Finale 2012: I guess I‘m gonna check out other apps… but I hesitate because I work with Finale since 2007 hahah

Cargo cults: groups of Melanesian islanders who had no contact with the outside world until World War II. During the war, both Japanese and Allied forces started airdropping various goods onto these islands to gain the favour of the natives and to ensure that they didn't interfere with the building of airstrips on these islands. After the war ended, the tribes on these islands began building twig aircraft and wooden carved "headphones" to imitate what they thought were some sort of "sky gods", while not having the foggiest idea of how those things actually worked. Your example of a guy boasting about his "double fugue" yet lacking the most basic comprehension of the vernacular he's trying to write in is the musical equivalent of a twig/straw aircraft that only gives the *appearance* of a plane but will never fly. This is the result of everyone trying to get an ego-boost/dopamine rush on social media, quick results without actually putting the time in, and chasing that elusive "algorithm" nowadays. BTW, Finale might be the Windows 95 of notation softwares, but it's the closest thing to actually writing with pen and paper without having to write with pen and paper. Not to mention, it's filled with redundancies, so you have multiple ways of approaching a problem. Sibelius/Dorico/MuseScore, etc., locks you into "their way of doing things", and it's just a chore.@@en-blanc-et-noir

"only gives the appearance of a plane but never will fly" ...that is a pretty good metaphor

Hallo tronchalant :D, merci! ... ja schwer zu sagen. Ist so ein bisschen learning by doing würde ich sagen. Ich habe Musiktheorie in Detmold und Essen studiert, da ging es aber nicht viel ums Komponieren oder Improvisation. Im Master in Essen habe ich bei Markus Roth allerdings einen gewissen "approach" gelernt, v.a. allem wie man "interessante" Stellen findet, was einen Stil ausmacht, was "das Besondere" ist, das hat mich schon sehr geprägt. Für das Praktische und das Improvisieren war für mich sicher wichtig der Partimento-Hype der 2000er: von da an habe ich so zeimlich alles gelesen was man über dieses Thema bekommen kann, da habe ich einfach selbständig sehr viel ausprobiert und mir viele Dinge mühsam angeeignet... Dazu habe ich im Musiktheoriestudium mehrere Jahre praktischen Generalbassunterricht gehabt und in Detmold musste ich im Musiktheorieunterricht auch relativ viel am Klavier modulieren... das hat beides sicher nicht geschadet.