Exercise

Write your own fugue
In the 4 first classes, we composed our own Subject using a specific Orbit Line,
                   which made life nice and easy for us, a good way to start.
         We followed 4 simple guide-lines :
                   - respect the priority of the Orbit Lines, in order of tension, 3-2, 2-1, 1-1, and 0-0;
                   - avoid using the 2 strongest lines at the same time, 3-2 and 2-1;
                   - avoid crossing the Performance Voices (and Orbit Lines); and
                   - respect the range of the Performance Voices, by remaining in the center of the range as much as possible.
Now that we will be using the beginning of existing, preferably well-known, songs,
                   respecting these 4 guide-lines will not always be possible, or even advisable,
                             and we will learn how to "cheat" by circumventing some of these restrictions.
To make things a little easier, we will offer you a list of songs with suggestions for cheating,
         but you can very well use any other song if you prefer.

Keeping the same Specifics-
         Form AAAA BBAA,
         Chord Pattern for the AAAA, M34-34, if the Subject has M3, and M5324-5324, if the Subject has M53,
                   and for the BB, a half circle if the Subject has M3, and a full circle if the Subject has M53,
         using the Orbit Line(s) imposed by the chosen Melody for the Subject,
                   and the appropriate Orbit Line for the Counter-subject,
                             taking care of the 2 Xs, making use of the Orbit Lines left over,
                   and any available material as motif for the canon of the Divertimento,
         the Melo-rhythm, words, and time signature ( 2/2,6/8, 3/4, at Level -1) of the chosen Melody,
but freely choosing-
         the embroideries and Non-chordal Tones for the Counter-subject and the Xs.
Check each Voice carefully(Soprano, Alto, Tenor, and Bass) from beginning to end,
         making sure that the melodic movements are easy and natural, and
                   that the words are coherent.
Correction is always in the performance.

Suggestions-
         Oh! When The Saints, S1 = M53, Orbit Lines 1-1, 2-1,
                   This has already been done and works well.
         Happy Birthday, S1 = M3, Orbit Line 3-2.
                   Try using Orbit Lines 2-1 and 1-1 in the Counter-subject, to get the best sonorities with the Subject.
         La Raspa, S1 = M53, Orbit Line 1-1,
                   Try using Orbit Line 2-1 for the Counter-subject, instead of 3-2 which crosses the Subject.
                             You might be tempted to try something new here.
Crossings
         Red River Valley, S1 = M53, Orbit Line 2-1.
                   The Pick-up of the Subject will inevitably cross the Counter-subject.
                             Make the CS very different (especially note-values) so that the crossing really shows,
                                       and alternate the entries between the Male and Female Voices.
         Clementine, S1 = M53, Orbit Line 2-1.
                   A crossing here (on note 4). Quite similar to Red River Valley. Take the same precautions.
         Down In The Valley, S1 = M3, Orbit Lines 2-1 and 1-1.
.                    A Pick-up crossing here. Take the same precautions as in Red River Valley.
Rebounds
         Auld Lang Syne, S1 = M3, Orbit Lines 1-1 and 2-1.
                   A Pick-up crossing here, but there is also a rebound on the Beat of the Subject,
                             which will be present even at the end of the fugue.
         Carnival Of Venice, S1 = M3, Orbit Line 2-1.
                   A rebound on the Beat of the Subject here (this one a Double Non-Chordal-Tone), but no Pick-up crossing.
                             It is often a good idea to also place a rebound on the Beat of the Counter-subject,
                                       in the form of a single Non-Chordal-Tone (for the best sonorities).
         Yankee Doodle, S1 = M3, Orbit Lines 1-1 and 2-1.
                   Rebound on the Beat of the Subject with Non-Chordal-Tone suspensions, no Pick-up.
Tenant Chords
         Lovely May, S1 = M3, Orbit Line 2-1.
                   A rebound on the Beat of the Subject with a double Non-Chordal-Tone,
                             which may also be considered, at a smaller level, as a Tenant Chord,
                                       an ANTE-1 on the S1 (and CS1) and a COUNTER on the S2 (and CS2).
         Drink To Me Only With Thine Eyes, S1 = M3, Orbit Line 2-1.
                   A melodic rebound on the Beat of the Subject, but also a harmonic Tenant Chord on the Off-beat.
                             A Metamorphosis 4 occurs on this Tenant Chord (F⁶Dm⁷ on the S1 and Dm⁷F⁶ on the S2, in C).