Writing Canons

Easiest time or temporal interval is the that of 1 or 2 bars, with the second voice in a similar metric position to the first.

The most common harmonic interval between the first voice and the second is the octave. Remember that canons at the octave and unison use real/exact imitation.

When the second voice imitates at an interval other than the octave or unison, the harmonic problem is different - as a result of using tonal imitation. There will be a change of harmony, a less static result. it real or exact imitation were used, the tonal centre would be blurred, and two keys, suggested (bi-tonality).

Method

1. Compose the opening bar, or two bars, in voice one.2. Copy this much in the second voice, transposing it according to the harmonic interval

desired, at the time interval selected, or whatever seems most effective. If the time interval is less than the the length of the first fragment written, you can make some changes in that part (voice one). Make sure both parts are in good counterpoint. The final form of the second voice must be a true reproduction of the first, with the exception of possible chromatic alterations in canons other than octave or unison.

3. Write the second fragment of the first voice, in counterpoint to the second voice, keeping in mind the resulting harmonic background and the development of the melodic line (well defined motives).

4. Continue steps 2 and 3, throughout the phrase. The 3rd fragment in the first voice should not be a replica of the first fragment, as this leads to a lack of variety.

Exercise

Try writing canons one phrase long using two instrumental voices at any of the following:• octave above• octave below• fifth above• fifth below• fourth above• fourth below• sixth above • sixth below