How to Write a Fugue - Part 3 (Stretto, Coda, Interval Analysis) 

I wouldn't mind seeing some interval analysis of Bach, you explain all the rules and nuances very well :D

9:36 yeah, I know exactly what you ,mean

I have to say this course was way above my head but I think by osmosis I must have learned a thing or two. I'm just so amazed by the ease with which you are able to talk about this difficult subject, you've must have put a lot of effort into this. Keep it up, you'll create great music over your lifetime I'm sure!

I love watching your videos dude, I got out of a math test test early today and I couldn't wait to watch your video right after it. You have got to be one of my favorite RU-vidrs :)

That slight modification right to the very note of the subject, only in the last voice to play it in the cannon, gives a rather charming effect to the music.

Yes, please analyze Bach fugues.

it's so nice, to see you in such a great mood! thanks for your videos. I am self-taught at music theory, and your tutorials broaden my understanding and pov on those concepts!

Dude, you're awesome! I mean it is sort of charity, that you shared this type of knowledge with us, thank you!!!

Oh dear JJ it's beautiful composition man

Did you ever make videos where you wrote the rest of the fugue? I was looking forward to watching you write the counter subject and all the cool things you could do in the development.

Yeah would love to see you doing interval analyses of Bach!!

Thank you. Most excellent. I love your presentations. Is there a part 4 to this series?

The Well-Tempered Klavier by J.S. Bach... Is wonderful!

Great video! This mini series has helped a lot with my own works. I was wondering if you could do a video on writing for percussion ensemble next. Just a suggestion

Hey Just watched all three parts today! Very good job! What happened with part 4? :) Also, do you have a recommended reading list about counterpoint etc somewhere? But great job!

Beautiful fugue! Please teach me your skill!

1:04:49 - I think the reason Bach considered this acceptable voice leading is because the neighbouring F-sharp is basically just the decoration of a single held tone (the G). If you were to replace the G-to-F-sharp-and-back motion with just a held quarter note G, the fourth would occur as a dissonant passing tone in the lower voice, straight out of a second species exercise. Just my two cents :^)

I only don't understand what the term "voice exchange" means. Could someone help me out? Edit: this video was lovely and very helpful. Thanks and keep up the good work!

Please do a interval analysis on Bach's Fugue n.1 in C major from WTK.

Hey JJay, love your content, keep it up! Do you plan on continuing this series? Or did you already finish the fugue? In which case I would very much like to hear the finished product!

Hi JJay! What is your opinion on contemporary music like Cage, Messiaen, Ligeti, Pärt, etc? Because most of your music is very traditional, both harmonically and melodically. Also, what's your thoughts about electroacoustic music and soundscape? I am currently studying composition in Sweden and we are forced to work a lot with wierd kinds of music and I absolutely hate it. I am very traditional in my composing myself and your tutorials and compositions is very inspiring for me. But I am very interested in what you think about contemporary music and music in general. Like, what's your musical ideal? :)

Kinda late but if you did a interval analysis of bach, thatd be cool, because it would help me figure out how to analyze music better on my own

Hey JJay, I really appreciate the videos you are uploading, excellent stuff, thank you! I try to compose stuff on my computer and piano. But how did you get this really deep knowledge of composing and note relationships? I feel really dumb, when I watch your videos :D It feels like you are completely in the matrix and know exactly what you and other composers are doing. What is your nr 1 recommendation to get really good in music theory? Thanks

y the way, that progression of notes around the 40:00 minute mark are the exact same notes as the original star trek tv series theme :D

Would be cool to See how to make music like Glenn millers

m. 34 beat 3 is JUICY

this is brilliant stuff! There are so few practical resources for writing fugues out there (trust me I wrote about fugal and canon composition for my thesis). Where is part 4 though! All these vids and we still haven't tackled the exposition yet!

Are octaves to fifths allowed (similar motion)

9:36

This is so interesting althought I barely understand anything. I have no basis at all in music theory, I've just been learning and playing a lot of stuff for one year (I am a former guitarist, which explains a lot :D). I used to be very academic, and I think I wanted to approach piano learning with a complete non-theorical manner, just by playing, sensing music and vibration without overthinking it. However, I would love to learn about theory because stuff like fugues and bach music is so passionating to me, but I don't want to overtheorize the music. For someone having no knowledge at all in theory, what would you recommend to start with ? In order to, one day, write fugues like you showed !!

Isnt 4:54 bricolage? Also, when you say it is good to cut a voice out for a period, is that best done in an episode, best done while back at the tonic? In movies and series because you can't keep building suspense endlessly they cut to other subplots - so in like a fugue how do you slow your roll and switch without the suspense dropping out altogether?

19:30 bookmark 30:20

When there's a dotted quarter note carrying over from beat 2 to the and of 3, do you put a dotted quarter note instead of a quarter note tied to an eighth note just out of convenience?

First - excellent videos. I'm at the level where its all these nuances that I need, and none of the usual sources really explains them. I kinda wish you would slow down and focus on the issues, giving several examples, rather than treating them all quite fast, in passing, as it were, but I can rewind easily enough, I guess. Big issue I have overall is this idea of "if it makes harmonic sense", which is what most people say without explaining - you explain it. Anyway. 1:09:21, you have an octave on beat one (A-A'), and then on the next strong beat, you have another octave - (B-B'). I cant see how this is not "bad" parallel octaves, especially because the A and B in the bass occupy the whole bar (beats 2 and 4 are extensions of the A and B). Hitting octaves is bad enough, as I understand they are bad in themselves - before I think you said you need to alleviate them individually my making sure you have imperfect intervals around them to offset them - even when there are no parallels. And that octaves are worse than 5ths because of their increased stability, and so on, So I just dont see why this isnt technically bad, even though the middle voice throws in a few notes in the gap. Is it enough that coming down from the C to the second B gives you a change in direction to the underlying A->B motion? I have to say this stuff confuses me mightily, given all the exceptions, which leads me to just ignore the "rules" most of the time so long as it sounds OK to me. But I'm hoping to gradually improve my learning why the exceptions are exceptions, and this is why this is so useful. Thanks.

All for the Bach

I’d like to learn more about harmony. Are there any books you recommend?

Actually, if you have C minor without an A flat, that is C dorian. To be melodic minor the Bb would also have to not be in C minor. Also I see in his Toccata and Fugue in D minor a few moments of parallel octaves(so like all the notes in a passage in unison but in different octaves) which according to the rules of counterpoint should never occur. So why did Bach break this rule of parallel octaves?

Great, but I thinkthere are parallel octaves between bar 30 and bar 31!:b-b and c-c

Saying FIRST for Alan Belkin.

The problem is that the voices are too far apart in some instances(like m3 beat 4).Unfortunately this is not going to work in the context of tonal harmony.

For a piano fugue your voices are often very (too) widely spaced

early bird

1:04:36 why does it say *diminished on the screen?

9:30 HAHAHAHAHA

24:34 Octaves Soprano Bass h c

deberías poner subtítulos :(

I don't understand this interval analysis thing. Doing interval analysis on every measure is like doing road analysis when driving. What intervals you are creating should be in your mind the instant you are ready to set the note in place.