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C ANON
A canon is a piece of music where a melody is played and then imitated (one or more times)
after a short delay. It is a contrapuntal technique as the melodic lines move independently from
each other, but are linked harmonically.
As you can see from the diagram above the first melody is called the leader (otherwise known
as dux or proposta), whilst the following melodies are called
the follower (or comes or riposta).
Let’s have a look at/listen to an example:
Retrograde Canon
In a retrograde canon the follower plays the leader melody backwards.
Retrograde Inversion
In retrograde inversion the follower plays the leader melody in contrary motion and backwards!!
Fugues
Rondo Form
R ONDO FOR M
Rondo Form is a natural extension of the 2 forms we have looked at already – Binary
Form and Ternary Form. If Binary Form is A-B and Ternary Form is A-B-A then Rondo Form is
A-B-A-C-A-D-A.
The main section or theme (known as “A”) alternates with contrasting themes (you will hear
these called various names such as “episodes”, “couplets” or “digressions”). These contrasting
themes are labelled B, C, D, etc.. So, a typical Rondo Form structure looks like:
Each new section contrasts in some way to what has gone before it. You will find that most
composers writing a Rondo Form piece will use changes in melody, key and harmony to contrast
the different sections.
It is quite similar to Theme and Variations form except for the fact that Section A returns each
time in Rondo Form, but does not return in Theme and Variations Form.
An Example of Rondo Form
Ternary Form
TER NAR Y FOR M
Each of the sections sound like complete pieces of music in themselves – you could play just the
A Section of a Ternary Form piece and it would not “feel” like it must continue onto a new
section. This is because it ends on a perfect/authentic cadence.
The B Section is usually written in a key that is closely related to the key of the A Section as
below:
The B section also usually has a different mood to the A Section. If the A Section is upbeat and
lively then the B Section will often be more subdued.
Have a look/listen to this famous example of Ternary Form – “Alla Hornpipe” by Handel from
The Water Music.
Modulation
Modulation describes the process where a piece of music changes from one key to another
key.
When you start writing a piece of music one of the first things you do is choose a key to compose
in. This choice of key determines the scale you use, how many sharps and flats there are and
what chords you can use. This key is sometimes called the “home key”.
Many songs and pieces remain in this home key and do not change. However, to make a piece
more interesting a composer may choose to change into a different key at some point during the
piece. This change is called a modulation.
There are lots of different ways of modulating, but we are going to have a look at 2 of the most
common ways you will come across:
Pivot Chord or Common-chord Modulation
The advantage of pivot chord modulation is that it enables a smooth change from one key to
another. It does this by using a pivot chord.
A pivot chord is a chord that belongs to both the home key and the the key the music is
changing to.
Let’s look at an example:
Imagine we are wanting to write a piece of music in G major.
We could use the primary chords of G major (I, IV, V) which are the chords G, C, D.
Can you see that chord V in G major (D) is the same as chord I in D major (D)?
This means we could use the chord D as a pivot chord to modulate from G major to D major.
Can you also see that chord I in G major (G) is the same as chord IV in D major (G)?
This means that we have a choice of 2 pivot chords that we could use.
Have a look/listen to the following piece which modulates from G major to D major: