13 is treated as 7+6 for most of this piece, also with a motive in 8+5. I studied two pieces to help me with the form: the opening movement from Partita in E Minor BWV 830, and the Toccata in D Minor BWV 538 "Dorian" (not the famous one). If you know those pieces, you might notice similarities. Written between June 21 and July 2, 2013.

2013 Prelude in B Minor, in 13/16

Written Nov. 9-11, 2013. Thirteen is mostly treated as 7+6, subdivided as (4+3)+(3+3), with some reversal at phrase endings.

2013 Prelude in B-Flat Minor, in 13/8

Written January 15-18, 2014. The meter 15/16 is treated as 8+7 with a turnaround 7+8 division in the second half of intervening sequences. This is the first fugue I’ve written which features the subject in augmentation, and I found it a bit tricky to pull off in an asymmetrical meter, but I’m pleased with the result. The first half of the subject is virtually identical to the well known fugue from Bach's first violin Sonata, which also exists arranged by Bach as an organ fugue (known as the "fiddle fugue"). I did only a cursory study of both of those works, and consciously worked against emulating them, since the material would bring them to mind too obviously. This piece was written after scrapping three other fugues written in the same key and meter using different subjects.

2014 Fugue a4 in F-Sharp Minor, in 15/16

A scale step in 9ET is a Wide minor 2nd of 133 cents, which tends to sound wrong for any usage other than neighbor tones or in chromatic passages, so counterpoint in this tuning features a lot of arpeggiation and limited chromaticism. 9ET has the same Major 3rds as 12ET, as they are both divisible by 3. A complete circle of 9 fifths appears near the end of the piece. The meter (7/8) alternates freely between 4+3 and  3+4. Written June 12-13, 2015.

Fugue In 9ET, in 7/8

Invention In 11ET

Adagio In 11ET

5ET is quite a limited set of pitches to work with, so this piece is very short. Written June 23, 2015.

Prelude In 5ET

Star Spangled Banner in 19ET

This topsy turvy 3-voice fugue was written over the past week, March 7-15, 2016. I chose this key symbolically to represent excitement, as everything is raised sharp. The subject also appears in inversion (which is called "kopfüber" in German, a term corresponding to "head over heels" in English). A second subject (sung to me in a dream) with its own exposition joins in around the golden mean (unplanned). The unusual meter of 38/8 is realized as (5+7+7)+(5+7+7) throughout.

Fugue in C-Sharp Major, in 38/8

Mainly in 5/4, with some episodes in 7/8 (12./19. Mai 2019)

Fuga a3 in 16ET

A two-voice piece in (unbalanced) binary form making use of some of the chromatic nuances available in 19-equal tuning. Written 21./26. Mai 2019.

Präludium in 19ET, in 11/16

Written 15-16 September 2019. A Bach aficionado will be likely to guess the pieces I was studying when I wrote this. The prelude is a Rondeaux, similar in form to the same-named movement from BWV 826, Partita in c-Moll. The recurring theme itself is shares the same key and bass motive with the aria "Der schädlichen Dornen unendliche Zahl" from the Cantata "Leichtgesinnte Flattergeister", BWV 181. The (2-voice) fugue subject is similar to both BWV 857, Prelude in f-Moll from WTC I, and the Gigue from BWV 827, Partita in a-Moll.

This is part of a new project, which I think is taking shape as "14 Kleine Präludien und Fugen", shorter, easier-to-play preludes and fugues in major and minor keys only up to 3 accidentals, in meters of only 5 and 7. At least that's my plan so far. Other meters might be included.

N.B. After recording this, I decided to make one small change to the score, in the transition from the 6th to 7th measure: alto now descends D, Cis, B, and the bass leaps B Fis B, to be slightly less repetitive and to set up the first sequence better.

Präludium und Fuga in h-Moll, in 5/8 (2019)

Written 22. Sept. (Prelude) and 29. Sept. (Fugue) 2019.

Präludium und Fuga in A-Dur, in 7/8 (2019)

Prelude written 13.10.2019, fugue 20.10.2019.

Präludium und Fuga in d-Moll, in 5/8 und 21/16

Prelude written 17. Nov., Fugue 24. Nov. 2019. I hadn't planned on using 18/16, but the subject appeared in that meter, so I went with it ;)

Präludium und Fuga in fis-Moll, in 13/16 und 18/16

Präludium und Fuga in G-Dur, in 5/8 und 7/8 (2019)

Präludium geschrieben 22., Fuga 29. Dezember 2019.

Präludium und Fuga a3 in a-Moll, in 11/8 und 7/8

Präludium und Fuga a3 in g-Moll, in 21/16 und 7/8 (2020)

Präludium geschrieben 2./4. Februar, Fuga 9. Februar 2020.

Präludium und Fuga a3 in B-Dur (2020)

Präludium 2./3. März 2020, Fuge 8./10. März 2020 geschrieben. Die Fuge bezieht sich auf ein berühmtes Orgelwerk von Bach (weißt Du, welches?) The fugue is based on a famous organ work by Bach (do you know which one?)

Präludium und Fuga in E-Dur, in 5/8 und 7/8 (2020)

Fuga geschrieben 26. März, Präludium 29./30. März 2020.

Präludium und Fuga a2 in cis-Moll, in 7/8 (2020)

Präludium geschrieben 18. März, Fuge 5. April 2020.

Präludium und Fuga a2 in gis-Moll, in 5/8 und 5/16 (2020)

Präludium geschrieben 12./13. April, Fuge geschrieben 19./20. April 2020.

Präludium und Fuga in Fis-Dur, in 7/8 und 7/4 (2020)

Written 4./11./18. Mai 2020. I've corrected what I see as mistakes in the previous draft — removed a few bars, made other small changes throughout — and (most importantly) added a 17 bar countersubject exposition, making this a double fugue. I hear a better story being told in this piece. After it's over, going back to the beginning is, to me, refreshing, which was definitely *not* the case with the previous draft. At 55 bars (previously 41), it still fits on two A4 pages. For comparison, the draft is here https://soundcloud.com/uz1kt3k/fuga-a3-in-des-dur-in-78-2020

Fuga a3 in Des-Dur, in 7/8 (2020) [Doppelfuge]

Präludium geschrieben 23./27. Mai 2020, Fuge 6. Oktober 2019. Die Fuge ist ursprünglich in e-Moll geschrieben, aber hat zum e-Moll Präludium nicht gepasst. Also habe ich sie transponiert und dazu passend das vorliegende es-Moll Präludium komponiert.

Präludium und Fuga in es-Moll, in 5/8 und 7/8 (2020)

Fuga a2 in e-Moll, in 15/16 (2020)

Präludium geschrieben 31. Mai / 1. Juni 2020, Fuga geschrieben 14. Juni 2020. Mit diesem Werk ist mein zweites Buch 24 Präludien und Fugen abgeschlossen.

Präludium und Fuga a4 in H-Dur, in 5/8 und 12/8

Fuge geschrieben 7./9. Juni, Präludium 10./11. Juni 2020. Kleiner Hinweis: das Präludium beginnt in der 'Mitte' des 7/8 Taktes  4 | 4 + 3 und 7 läuft mal 3 + 4, mal 4 + 3, sodass das Thema teils 4 | 4 erklingen kann.

Präludium und Fuga a3 in b-Moll, in 7/8 (2020)

Präludium geschrieben 20./21. Juni 2020, Fuga 2./3. September 2019. Ich hatte ein anderes Präludium geschrieben, aber dann wurde mir klar, dass es nicht gut genug zu diesem Buch passte. Jetzt gibt es also noch ein neues Stück für das Projekt, das ich gerade fertiggestellt haben soll. [N.B. nun wieder mit noch ein paar kleinen Verbesserungen im Präludium.]

Präludium und Fuga a3 in C-Dur, in 5/4 und 5/8 (2020)

Präludium geschrieben 28. Juni, Fuga 19./20. Juli 2020.

Dazu eine lustige Geschichte: Vor mehr als einem Monat bin ich mit
meinem zweiten Buch von 24 Präludien und Fugen fertig gewesen. So begann
ich mit dem Erstellen des Inhaltsverzeichnisses. Und siehe da, es gab
gar kein Präludium und keine Fuge in As-Dur! Ich hatte doch tatsächlich
vergessen, das Ding überhaupt zu schreiben.

Jetzt ist es also endlich komponiert. Und damit sollte das Projekt nun
(wirklich) abgeschlossen sein ... denke ich :)

Präludium und Fuga a4 in As-Dur, in 7/8 (2020)

This should be the final composition included in "The Equal Tempered Keyboard" project, which has been going on for the past 20 years (gasp). In this book, each equal division of the octave between 5 and 20 tones gets a prelude and fugue or two part invention. For 19ET I had written two pieces, but neither of them was a fugue or invention, rather the set was a "Prelude and Rondo". I decided that didn't fit the project well enough, so I wrote this short fugue yesterday (13. Sept. 2020) to replace the Rondo. Some remarks about each tuning will be included in the book. Those are not quite finished yet, but I plan to publish the book by the end of the year.

Fugue in 19ET (2020)

In the prelude, 17 is treated as a dancelike 5+5+7 (further subdivided 3+2, 3+2, 4+3) and in the 5 voice fugue, 17 is treated as 8+9 or 9+8, which results in an interesting feel that's like dragging triplets; I really enjoy the effect and I hope you do too.

2013 Prelude in E Major, in 17/16

Both the prelude and fugue are much longer pieces than others I have written for this set so far. They also share some material in common. The Prelude may remind some listeners of opening movements from several of Bach's English Suites. The fugue has some surprises in it, which I would rather not spoil for you. I tried to add some dynamics to the computerized rendition of the fugue, but I feel it doesn't come across very well; I hope you can use your imagination. Thanks for listening! Written May 9-14.

2013 Prelude in F Minor, in 7/8

If you'd like to study counterpoint, please follow the link below (Lessons).

Aaron Andrew Hunt

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