Text-book of simple and double counterpoint including imitation or canon . 3:?=q *z=?==^ -^^- ^ rep. ad lib. In canon in the unison, voice-crossings are unavoidable un-less the direction in which the voices go remains fixed fromthe beginning to the end (compare the second half of our canonand its prototype, cantus firmus A). If, to a certain degree,the danger of the voices sounding alike when crossing oneanother may be prevented by care in the development of thevoice which goes before (compare No. 234, measures 3 and 4),this danger is the very best reason why imitation in the octaveis preferre
Text-book of simple and double counterpoint including imitation or canon . 3:?=q *z=?==^ -^^- ^ rep. ad lib. In canon in the unison, voice-crossings are unavoidable un-less the direction in which the voices go remains fixed fromthe beginning to the end (compare the second half of our canonand its prototype, cantus firmus A). If, to a certain degree,the danger of the voices sounding alike when crossing oneanother may be prevented by care in the development of thevoice which goes before (compare No. 234, measures 3 and 4),this danger is the very best reason why imitation in the octaveis preferred to that in the unison, inasmuch as it causesfewer crossings of the voices. Our canon appears to betteradvantage if the second voice follows the antecedent into thehigher or lower octave (no parallel octaves occur) and therefore aninversion in the octave is practicable: 236. & A. NB. r^ -^-0- N—r ^HE^^^S^ wm 15 3Bi 3EE35 ^ mi ^m^^^^^ 3-^^ Coda. § 18. PLAIN CANON IN THE UNISON AND THE OCTAVE. 153 or inverted:237. A. k I w E^Tt^ -(?—#- ^ #=t^^^ Coda. gjg=qj4^f. In regard to the phrasing of a canon, it may be said that,as a rule, the beginning voice retaiiis the lead tkroughoutand the symmetrical construction is controlled by it; there arecases, however, where the imitating voice interrupts this lead,especially if it imitates the first voice after two measures. Wemust now explain the technic of the production of such a canonmore particularly, and what we say is apphcable in the mainto all imitative counterpoints. Of course the first beginning and the entrance points forthe imitating voice are wholly free *. * A canon may be developed most easily when the imitating voiceenters after several measures, because then the preceding voice has hadthe time and the opportunity to bring logical harmonic progressions to thewhole. Our manner of writing canons, which take a pre-determined courseof development (corresponding to the cantus firmus), makes it advisable tochoose close successi
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