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A puzzle canon, riddle canon, or enigma canon is a canon in which only one voice is notated and the rules for determining the remaining parts and the time intervals of their entrances must be guessed. [44] "The enigmatical character of a [puzzle] canon does not consist of any special way of composing it, but only of the method of writing it ...
Permutation fugue describes a type of composition (or technique of composition) in which elements of fugue and strict canon are combined. [40] Each voice enters in succession with the subject, each entry alternating between tonic and dominant, and each voice, having stated the initial subject, continues by stating two or more themes (or ...
Perpetual canon – Canon where the voices sing the same melody in unison, starting at different times, creating a harmonious overlap that can be repeated indefinitely. A catch is a subtype of this canon. Prolation canon – Canon where the same melody is performed at different speeds or note values by different voices.
Imitation helps provide unity to a composition and is used in forms such as the fugue and canon. The near universality of imitation in polyphonic styles in Western music (and its frequency in homorhythmic, homophonic, and other textures) is evidence enough of its paradoxical value in asserting the individuality of voices. [3]
BWV 577 – Fugue in G major "à la Gigue" (spurious) BWV 578 – Fugue in G minor "Little" BWV 579 – Fugue on a theme by Arcangelo Corelli (from Op. 3, No. 4); in B Minor; BWV 580 – Fugue in D major (spurious) BWV 581 – Fugue in G major (not by Bach, composed by Gottfried August Homilius) BWV 581a – Fugue in G major (spurious)
A week later, Mendelssohn played the St Anne prelude and fugue BWV 552 on the organ in Birmingham Town Hall. Prior to the concert, he confided in a letter to his mother: Ask Fanny, dear Mother, what she would say if I were to play in Birmingham the Bach organ prelude in E-flat major and the fugue that stands at the end of the same volume.
Four months after the meeting, Bach published a set of pieces based on this theme which we now know as The Musical Offering. [6] Bach inscribed the piece "Regis Iussu Cantio Et Reliqua Canonica Arte Resoluta" (the theme given by the king, with additions, resolved in the canonic style), the first letters of which spell out the word ricercar, a well-known genre of the time.
Moreover, in a fugue the musical material used at each entrance (the so-called "subject") is repeated many times throughout the piece, whereas in a fuguing tune it normally appears just in the one location of sequenced entries, and the rest of the work is somewhat more homophonic in texture. Indeed, "fuguing" does not derive from "fugue".