Chitpong

The last prelude in major key of Preludes & Fugues. A farewell ballad in a loose binary AB form. This is as simple it it could be.

A prelude written in the passacaglia style. It is a set of eight variations over an eight-note bass pattern. The pace is very slow and deliberate. I could not call this piece with any other name except a requiem.

A fun and a bit raucous fugue. A last exuberant sprint before an inevitable decay.

A miniature prelude. Light on the mood, yet maintaining sophisticated melodic arrangement especially in the balance, symmetry, and layering. An offering like a small and delicate dessert.

A three-part fugue in grave, serious tone. It's simple and sparse, yet maintain fugal devices and complexity. There is a feeling of unstoppable gravitation that pulls one into something, whatever it is that would depend on a listener. This fugue is composed straight in one day. In term of structure, there is a small deviation from the strict requirement in the exposition part. In one voice I replace the Counter Subject with a free counterpoint. It is needed for aesthetic reason – to represent the progression and development of the theme more musically. This is the first time that I deviate from the strict requirement of the exposition part.

A minimal and very short prelude. A contemplation and a rest, to pause and clear up for the things to come – the fugue in A minor.

A lively and refreshing fugue. It is very difficult to play because of the speed and complexity. It is a piece of festive mood. A thoroughly positive outlook. Playful yet thoughtful, with a relentless drive forward.