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Showing results for tags 'canon'.
Found 18 results
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This was inspired by the double canons by Brahms for female voices. But I wanted to experiment with a tonal row.
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So, I am working on a set of canons as a prelude to the fugue. No, not literally, as in I would put these before the fugues I write. No, what I mean is that I view the canon as being simpler than the fugue in all sorts of ways and thus as a preparation for fugue writing. I aimed for a more Bach like feel to this canon than the Pachelbel like Canon in Bb that I composed for woodwind quartet. I even went so far as to write it for harpsichord instead of piano to further get that Bach feel to it. Now, why am I mentioning Bach? Well, he is the composer that keeps encouraging me to go ahead and writ
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I'm still not satisfied with my counterpoint, so I wrote these two little practice pieces. They're not mentioned for any instruments, but I had to choose something when making an mp3. Also, this is my first finished canon, that is I've written many canonical passages but this is my first standalone finished canon :D What do you think of these?
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So I have been studying counterpoint for a long time, like more than a year. And I have tried writing fugues before because I am a fast learner and I figured that if I studied counterpoint, I would be able to write a fugue. Well, that hasn't happened yet. My 4 voice fugue attempts have always been futile(getting parallel octaves even when I'm trying hard not to get parallel octaves). So I figured that maybe, I'm just not ready for 4 voices yet. That and the fact that I have done canons before my extended study of counterpoint(mainly Bach style counterpoint I'm studying because I view Bach as t -
I went over this piece once a teacher I had (on counterpoint) told me I should notate the different tempi for each instrument. What do you think? The world of polyrhythm-polytempi is wide. This is a canon in prolatio where every line is the same at different ratios.
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In my ongoing project of composing six small preludes, this one was very difficult to write for me and I am not very satisfied with the result. Basically, it is a canon from measures 1-11 with the upper voice leading, and and then a canon from measures 12-30 with the lower voice leading. M. 1-6 and 12-17 are virtually identical with the voices just exchanged and once in the tonic, then in the dominant (double counterpoint). The tonal plan is C Major -> G Major -> e minor -> G Major -> C Major. Very simple, but it was a new experience for me to change keys in a canon. I wanted
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Hey guys, I wrote a short piece for two pianos. I'm wondering if it could be arranged for four hands piano, and how playable it is. (my piano skills are non-existent) . Any other suggestions are welcome as always. Hope you enjoy!
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This a short and simple canon for harpsichord written in three part counterpoint. The outer two voices form a strict canon at the octave and the middle voice is in free counterpoint. Let me know what you think!
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Still getting familiar with harp writing (and pedals). A classic canon Part A in G minor at the seventh (or second + octave) Part B: D min at the fourth down motu contrario Part A': the same A but inverted counterpoint. harp canon - SCORE.pdf
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This is just an attempt to incorporate my studies on canon to a more modern sound. Parts AB are harmonised in a standard way (concert pitch always). Parts A'B' are in canon: A) the trumpet leads and the trombones are in canon at the sixth one in natural and the other in motu contrario. B) trombones in thirds in canonic style at the sixth and octave. Greetings!
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Hi everyone, After listening to J.S. Bach - Crab Canon I thought I'd have a go and write one too. (It's a good composition challenge, I'd recommend it) https://soundcloud.com/maxmitchellmusic/crab-canon NB: To anyone who's interested, a crab canon is a piece where the melody is played, then played backwards (or retrograde), and then the retrograde and original melody are played simultaneously.
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This little piece uses different contemporary techniques such us random dynamics, interval set, dodecaphonic scales, etc..., in a counterpoint background including canon (octava, motu contrario, prolation).
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To celebrate this day, I've been working on this piece. It's a big canon in prolation. It's not a live performance, so the slurs are for expression (for the software to do them).
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I was shocked listening to some kind of canon from the Renaissance. They use polyrhythm extensively. So I tried... This little canon works this way: Two parts (8 + 8 measures). The middle voice and the bottom voice are in 5/4. The middle runs twice faster. The upper voice is the same than the bottom one but in 7/8. The gaps when one voice finishes earlier than others (very few gaps, indeed) are in free counterpoint. I like the result, romantic and impressionistic with mild dissonances.
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This is an exercise. Taking the bass from Purcell's Dido Lament (when I am laid) as a ground bass, I built a canon at the unison.
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Hi Sometimes I also write very very short pieces just to try new sound comination, serial rows, etc... I like the word oxymoron and its meaning: made up of two or more words that seem to be opposite to each other, or actually are opposite. For example, the words "Wise fool", "Warm freezer", "Legal murder" In English the plural is oxymora (as other Greek words). But in Spanish the plural is not clear: oxímorones, oxímorons, ?? Well, these are serial mini pieces: I keep them as ideas for other things, or who knows, to make a set by themselves.
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In this case, I wanted to use the litlle form of sonatina to non traditional harmonies. The result was a sonatina in canonic style.
