Writing a Simple Cannon (at Unison)

Rameau discusses how to make a simple four part canon at unison (that is, each voice entry follows unison). The easiest method involves a short melodic idea that follows a simple harmonic progression (e.g. I-V7-I).

For my first try, I used this simple melodic idea:

We can then add each of the 4 entries at their exact points, and realize the range of possibilities while avoiding parallel octaves 5ths. One limitation is that the final entry (where all voices are at once most likely taken by the bass part) may not correspond with established cadential voice leading conventions, unless the motif resolves from the leading tone or the 5th (as the case here).

The second exercise I did was slightly more ambitious, utilizing secondary chords and greater diminution. I also embedded the leading tone in the second half of the motif in the interest of the above.

Finally, as the second line approaches the V7-I cadence from the 4th (F natural) I depart from the stricter option of rising to the G (as the first part did earlier) in the interest of the conventional resolution of the V7 chord. In practice, Neidhofer & Schubert state that most imitative contrapuntal textures are neither strict canon nor free imitation but somewhere in-between. So it is quite justified to loosen the framework in such places.

Play around with your own ideas... it doesn't need to be a masterpiece but at least adhere to the basic voice leading rules. I have composed canon's before but not as targeted exercises.

Canon Practice.pdf

Edited 1 hour ago1 hr by Markus Boyd