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 . nce, marking the end of the First Part (meas. 26). *4) This striking rhythmic figure is not only an important feature in the melodicdelineation of the Leader, but also defines the canonic imitation clearly when itreappears (next measure) in the Follower. c. The time-interval is a significant factor in the Canon, as it affectsboth the difficulty of stru
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 . nce, marking the end of the First Part (meas. 26). *4) This striking rhythmic figure is not only an important feature in the melodicdelineation of the Leader, but also defines the canonic imitation clearly when itreappears (next measure) in the Follower. c. The time-interval is a significant factor in the Canon, as it affectsboth the difficulty of structure and the recognizability of the shorter the time-interval, the greater and more insistent is thecanonic constraint. The imitatory effect can scarcely be brought outclearly when the time-interval is very brief, nor, on the contrary, canthe connection between Leader and Follower be easily traced whenmore than two ordinary measures intervene. Long time-intervals may,however, conduce to regularity of design; for instance, a 4-measureinterval is likely to resolve the Canon into a perfectly regular Phrase-group form, Par. 192c. UNACCOMPANIED CANON. 297 The following is a unique example of short time-interval: Allegro later: fcJ^^F^-l 1 1 1 1 1 i-P Klengel. # ^--#- etc. :i: V
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