agreed!

Even if I were allowed to get my hands on one, my limited technical abilities would turn out to be pretty insufficient given the difficulty of both the prelude and the fugue.

Of course. I'd be delighted to check on the work of a fellow self-taught counterpoint enthusiast! If it's already been published, may I ask, where could I find it?

@@FugaxContrapunctus I just posted this on Musescore. But I can share this in another way convenient for you.

@@feemych1741 May I have a link to the MuseScore page?

@@FugaxContrapunctus Of course, but it hasn't loaded yet.

I'm sorry, but KZfaq doesn't allow you to leave links in comments :(

I cannot help but thank you for your kind words, though to be honest, having recently indulged in listening to some of your compositions as they're published on your channel, all I can say is, I'm far from humilliating anyone at all, even less so you. Ostensibly, your talent at writing counterpoint is undeniable, and your orchestral symphonies certainly surpass my own instrumentation abilities by a long margin. Please don't be disheartened in your own compositional endeavours because of my music. That, I would desire the least when uploading my compositions here for the world to see and enjoy. To be fair, I cannot possibly have humiliated someone far better than me in so many regards and compositional skills. Your music is of incalculable value and beauty in its own right. Inspiring even, to fall short of praise. Please, don't forget that your own worth as a composer isn't derived from comparison with others, but your own internal artistic journey. Or as Béla Bartók elegantly put it, "Competitions are for horses, not artists".

Thank you friend for your words. I really appreciate your art a lot. Your ability to do baroque is impressive. I would like to reach that level. I'm still practicing. I know it's not healthy to compare yourself to anyone, but your music has made me understand that I still have a lot more to do to polish my style.

Agreed. The contrary motion within one hand during the fugue looks freaky to play. The distance between the voices sometimes span over an octave, but the other hand is already occupied to cover those.

I started out my compositional journey in a self-taught fashion, though I must admit I did formally attend composition classes at my local conservatory, which certainly did help me cement my contrapuntal skills.

@@FugaxContrapunctus what books do you recommend to get started?

Assuming your ultimate end goal is to compose fugues, I'd recommend André Gédalge's Traité de la Fugue, an online translation of which can be found in OpenBU, the free access section of the Boston University Library. For a more specific and stylistically focused approach, partimento treatises by Fenaroli and Rameau's theory on tonal harmony should yield substantial insight into the compositional perspectives and techniques as they were described at the time. There are also plenty of online lesser-format resources here on KZfaq, for example. Still, as I'm largely self-taught, my golden rule still remains "Practice makes perfect". Still, I would suggest not being too harsh on yourself. Even if you might now feel as though your counterpoint isn't yielding the expected results, as long as you feel compelled to continue practicing and looking for ways to improve, you will gradually make progress and gain the experience you seek. Every composition, exercise or draft you make will eventually help you in this endeavour, so long as you try to remain constant, even if they seem trivial or disappointing either at first or once you finish them. In short summary, the key to contrapuntal prowess, as well as finding one's own style of counterpoint, lies beyond a long creative journey of constant learning and improvement, with no definitive endpoint. That being said, I wish you luck in treading this path, as narrow and constricting as it may be.

The motion blur might have been caused by the fast tempo of the prelude. In any case, I'll look into it, some settings could be worth tweaking.

@@FugaxContrapunctus forgot to mention, i'm gonna be studying your work for years from now

@pecfexfextus4437 In that case, allow me to express my utmost thanks. Unfortunately, these videos are not technically the definitive versions of my compositions, as many of them still contain contrapuntal mistakes I have no way of editing here on KZfaq. However, in this forum page you'll be able to find the final versions of all my works, with audio files included: www.youngcomposers.com/profile/19206-fugax-contrapunctus/content/

Precisely as you said, the proper technique to be employed when encountering intervals too wide to be played on a single hand is to temporarily exchange voices with the other hand. Thus, within the example you mentioned, should the left hand not be taken into account and passing 16th notes be considered contrapuntally relevant, the resulting RH intervals would be 4ths. Regardless, thank you for your kind words of praise towards this humble work of mine. Often time I come across the reoccourring notion that my compositions should be taken purely at face value, either as pastiches or poor imitations of the original Baroque masters' art. To hear otherwise is truly refreshing in of itself, and my gratitude for it knows no bounds.