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In his early work, such as Piano Phase (1967) and Clapping Music (1972), Steve Reich used a process he calls phasing which is a "continually adjusting" canon with variable distance between the voices, in which melodic and harmonic elements are not important, but rely simply on the time intervals of imitation.
Suzannah Clark, a music professor at Harvard, connected the piece's resurgence in popularity to the harmonic structure, a common pattern similar to the romanesca.The harmonies are complex, but combine into a pattern that is easily understood by the listener with the help of the canon format, a style in which the melody is staggered across multiple voices (as in "Three Blind Mice"). [1]
Musical symbols are marks and symbols in musical notation that indicate various aspects of how a piece of music is to be performed. There are symbols to communicate information about many musical elements, including pitch, duration, dynamics, or articulation of musical notes; tempo, metre, form (e.g., whether sections are repeated), and details about specific playing techniques (e.g., which ...
The Musical Offering (German: Musikalisches Opfer or Das Musikalische Opfer), BWV 1079, is a collection of keyboard canons and fugues and other pieces of music by Johann Sebastian Bach, all based on a single musical theme given to him by Frederick the Great (King Frederick II of Prussia), to whom they are dedicated. They were published in ...
The canon (without the accompanying gigue) was first published in 1919 by scholar Gustav Beckmann, who included the score in his article on Pachelbel's chamber music. [11] His research was inspired and supported by early music scholar and editor Max Seiffert, who in 1929 published his arrangement of the "Canon and Gigue" in his Organum series. [12]
Canon ad duodecimam: Confitebor tibi Domine for 3 voices; Canon. Ter voce ciemus: Thebana bella for 6 voices: unknown: Summer 1770 89a: 73i "Canon for 4 instruments" — April 1770 228: 515b "Ach! zu kurz" Double canon for 4 voices: unknown: before 24 June 1787 229: 382a "Sie ist dahin" Canon for 3 voices: Ludwig Heinrich Christoph Hölty (1748 ...
The composition is scored for four-part mixed chorus accompanied by organ or piano. [10] Brahms marked the autograph score of Geistliches Lied with "Double canon at the ninth". The first canon consists of the tenor imitating the soprano while the second consists of the bass imitating the alto, with both canons at the interval of a ninth.
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