I would make a pun, but I'd be stealing it from matt_rah
What? No CTY geekery this time?
I'm working on a fugue. For all that I love counterpoint, I haven't delved much into the classic contrapuntal forms, except for brief canonic passages scattered through many of my pieces. But I had an idea for something that was originally a Nancarrovian tempo canon but is now becoming a fugue. For solo violin. This is not entirely unheard of -- Bach put fugues in some of his violin partitas/sonatas -- but still a fun idea. I have four full voices -- one for each string. It's all pizzicato, though, so the counterpoint is not as immediately obvious. I do like finding ways to make counterpoint spring up in places where it really oughtn't -- I have some two-voice canons in a piece for solo flute, where the performer plays and sings simultaneously. This is a similar concept.
I do have trouble keeping all the voices straight, however. I made the mistake of writing everything on one staff, since it's all for one instrument. Sure, it'll make it to one staff in the end, but at this point it's a big headache. Especially because I have lots of voice crossings and whatnot, so I really can't tell which voice is which without retracing all my steps. Also, it's surprisingly tonal, given how the subject itself is almost fully chromatic. I'm not planning the harmonies at all, but they're exactly the sort of harmonies I'd like to write if I were planning them. I'll assume that's a good sign.
I guess I don't really have much to say about it. I'm writing a fugue. That makes me happy.
I'm working on a fugue. For all that I love counterpoint, I haven't delved much into the classic contrapuntal forms, except for brief canonic passages scattered through many of my pieces. But I had an idea for something that was originally a Nancarrovian tempo canon but is now becoming a fugue. For solo violin. This is not entirely unheard of -- Bach put fugues in some of his violin partitas/sonatas -- but still a fun idea. I have four full voices -- one for each string. It's all pizzicato, though, so the counterpoint is not as immediately obvious. I do like finding ways to make counterpoint spring up in places where it really oughtn't -- I have some two-voice canons in a piece for solo flute, where the performer plays and sings simultaneously. This is a similar concept.
I do have trouble keeping all the voices straight, however. I made the mistake of writing everything on one staff, since it's all for one instrument. Sure, it'll make it to one staff in the end, but at this point it's a big headache. Especially because I have lots of voice crossings and whatnot, so I really can't tell which voice is which without retracing all my steps. Also, it's surprisingly tonal, given how the subject itself is almost fully chromatic. I'm not planning the harmonies at all, but they're exactly the sort of harmonies I'd like to write if I were planning them. I'll assume that's a good sign.
I guess I don't really have much to say about it. I'm writing a fugue. That makes me happy.