Counterpoint applied in the invention, fugue, canon and other polyphonic forms : an exhaustive treatise on the structural and formal details of the polyphonic or contrapuntal forms of music, for the use of general and special students of music . ith or without auxiliary part, at option. C. A 3-voice Canon in Contrary motion. D. One or more 4-voice Canons, for string-quartet. CHAPTER XXI. The Double-Canon, Etc. 208. Like the Double-fugue, the Double-canon has two Leaders, ora Double-leader, imitated by two Followers. The number of canonicparts is therefore four; to these an auxiliary part may b
Counterpoint applied in the invention, fugue, canon and other polyphonic forms : an exhaustive treatise on the structural and formal details of the polyphonic or contrapuntal forms of music, for the use of general and special students of music . ith or without auxiliary part, at option. C. A 3-voice Canon in Contrary motion. D. One or more 4-voice Canons, for string-quartet. CHAPTER XXI. The Double-Canon, Etc. 208. Like the Double-fugue, the Double-canon has two Leaders, ora Double-leader, imitated by two Followers. The number of canonicparts is therefore four; to these an auxiliary part may be added, but itis rarely done. The two Leaders may begin together, but it is more common tointroduce the subordinate Leader (so-called) a beat or more, possibly ameasure or more, later than its fellow. The rules of par. 165 apply, toa certain extent, and may be reviewed. The interval of Imitation is optional, the 8ve being here again pos-sibly the most convenient. The time-interval is apt to be a little longerthan in the single Canon, but must be adhered to by both Followers;, the second pair of parts must agree with the first pair in time-rela-tion. Any two of the four parts may be chosen for the two example: 2nd 314 APPLIED COUNTERPOINT. Par. 208. i 3=33 I I I ±£ 2nd Follower (in 5th). T ^=^ 4—I -&- # 1 1 1 J 15 J, tst Follower (in 5th), , -^^ ^ I I I p* I GOETSCHIUS. «r etc. Jt r tj t 1 r r -f lj t x r This is a Double-canon in the 5th, after 3 measures. See further, Klengel, , Canon 21 ; in the 5th, after one measure; unaccompanied; 2 Leaders begin simul-taneously in Tenor and Soprano, 2 Followers in Bass and Alto. — Vol. II, Canon 4;in 5th, after 2 long measures; 2 Leaders begin together in Bass and Alto ; they arecontrasted through the novel device of making one lyric and the other its (apparentlyinferior) figural accompaniment. Mozart (Serie 7), No. 41 ; Double-canon as Round (vocal, unacc.); in 4th, afterone measure; no cadence ; 2 L
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