Diatonic canons on an 8 note theme

Uploaded on Dec 6, 2015

counterpoint canon fugue

Pages 5
Duration 04:41
Measures 73
Key signature natural
Parts 1
Part names Piano
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This is extremely clever! Composing an original theme that enables so many canonic permutations is exceedingly difficult. I might be wrong, but I think even in BWV 1087, J. S. B. was utilising the full contrapuntal potential of an already extant theme, rather than constructing a theme ex nihilo that would fulfill all the combinations.
Thank you very much! He did not write the theme for the canons but it was actually a theme he wrote himself, the ground bass used in the goldberg variations. Since the goldberg variations already contain a set of canons it is not surprising the ground bass of the canons might have some potential itself :).
I can't find the problem now. Forget about it. A fourth between bass and any other part was treated as a dissonance in the era to which this music aspires. I'll spend some time looking for other problems, but I bet there are none or few. I wouldn't worry about audiences who are unfamiliar with this sort of endeavor.
I'm aware that the fourth was considered essentially a dissonant, but I'm writing music that fits my aesthetics, which happens to align in large part with a baroque aesthetic but not quite (note the piano for example). For me there are also clear advantages to treating the fourth like this (symmetrical counterpoint!). Additionally it has the same properties that the third, minor sixth and fifth also have like a simple frequency ratio, ease of singing and a part in many common consonant chords. I'm sure I won't change you mind so I'm glad you managed to listen past the fourths between the bass and other voices because I appreciate the feedback! And I like sharing it with my friends (or parents) and they understand the notion of combining a theme with its own transformations but I'm afraid their Latin is a bit rusty! Next time I'll probably name it properly and translate in brackets. Consistent terminology is important.
Thank you very much, it was a lot of work haha. BWV 1087 is indeed the inspiration for finding a 8 note quarter theme that allows this diversity of canons. And thank you for trying to spot bugs, it can be very tedious going over your own music again and again trying to fix mistakes. But I can't spot the mistake in m.17, could you name the notes? And yea, I love fourths, I personally think that the fourth as an interval has been given far too hard a time! I use them as I would use a fifth. I understand that the third and fifth echo overtones, but I feel that since the sixth has been redeemed then so can the fourth (at least to my ears). I'm also working on a more complicated longer theme (that actually has some rhythmic qualities) and that allows more canons I will be looking forward to your feedback! I originally shared this with some people not into music that deeply so I opted for english terms.
This is damned clever and a beautiful job. It very much recalls BWV 1087. It is not bug-free, though--there are parallel fifths between the outer voices at the barline of m. 17 (at least). I'm pretty impressed though. The various fourths and 6-4's also wouldn't pass formal muster, but I'll give you a pass on that -- this is very impressive. By the way, the standard terms for "faster" and "slower" rendering of a subject in this fashion are "diminution" and "augmentation", respectively.