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A double canon is a composition that unfolds two different canons simultaneously. A duet aria, "Herr, du siehst statt guter Werke" from J. S. Bach's Cantata BWV 9, Es ist das Heil uns kommen her features a double canon "between flute and oboe on the one hand and the soprano and alto voices on the other. But what is most interesting in this ...
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 ...
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. Table canon – Retrograde and inverse canon, combination of Crab and Mirror canons. Cantata – Vocal composition with instrumental accompaniment often based on a religious text.
"Up and Down This World Goes Round", three voice round by Matthew Locke. [1] Play ⓘ. A round (also called a perpetual canon [canon perpetuus], round about or infinite canon) is a musical composition, a limited type of canon, in which multiple voices sing exactly the same melody, but with each voice beginning at different times so that different parts of the melody coincide in the different ...
Inventions are similar in style to a fugue, though they are much simpler. They consist of a short exposition, a longer development, and, sometimes, a short recapitulation. The key difference is that inventions do not generally contain an answer to the subject in fugue does. Two-part and three-part inventions are in contrapuntal style.
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".
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.
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]