POLYPHONIC

FORMS
CHAPTER 9

POLYPHONIC FORMS
In the homophonic forms, repetitions of previously

stated thematic elements, alternate with contrasting

material to establish patterns. In polyphonic forms,
immediate repetition in another part (imitation)
produces patterns of interlacing thematic entrances
Two-part texture:

tends to be sparse and harmonically

incomplete
Four-part texture: more cumbersome, and following
four individual melodic lines taxes the listeners ear
Three-part texture: ideal number of parts for
polyphonic music
Five-part texture: rarely used

CANON
Continuous imitation between two or more

parts
Effective in short compositions and in brief
passages of larger forms
Leader the part that begins a canon
Followers those that imitate
The followers imitate the leader continuously
at a fixed distance and interval up to a
cadence point, where a momentary lapse may
occur and where the leader and followers may
change positions.

STRING QUARTET OP. 76 NO. 2 (1798)

3. Menuetto: Allegro ma non troppo
Joseph Haydn (1732-1809)

The minuet proper (excluding the trio) is a strict and

obvious two-part canon

In regular compound ternary form
Individually, minuet proper and trio are simple
ternary forms
Canon in two parts with exact imitation throughout
Violins play the leader in octaves, and viola and the
cello play the follower in octaves
The trio is purely homophonic
Haydns fusion of polyphonic and homophonic forms
is a stroke of a genius

STRING QUARTET OP. 76 NO. 2 (1798)

3. Menuetto: Allegro ma non troppo
Joseph Haydn (1732-1809)

ROUND CANONS, PERPETUAL

CANON, OR ROTAS
Canons in which the end leads back to the

beginning
Round canon is the most familiar term
Examples are:
Are

you sleeping
Lovely evening
Three blind mice
Row, row your boat

SUMER IS ICUMEN IN (1240)

Anonymous

Part 1 ____________________________
Part 2____________________________
Part

3_____________________________
Part 4_____________________________
Part 1
----....----....----....----....----....----....----....---Part 2
....----....----....----....----....----....-----....---

SUMER IS ICUMEN IN (1240)

Anonymous

Consists of four-part canon accompanied by

two additional voices which continuously

exchange short melodic fragments as shown
in the diagram
All six parts can be repeated infinitely, and no
real ending is provided
-----------------------------------------------------------------Canons may be accompanied by free melodic
lines or by chords
It is not a requirement that all parts
participate in the imitation,

Manipulations of Melodic
Lines
Certain manipulations of melodic lines

traditional in contrapuntal music can be

illustrated succinctly in canons
Contrapuntal - employing counterpoint;
polyphonic
The theory is that, melodic lines preserve
their identity when played backward, upside
down, in longer or shorter rhythmic values
(but the same proportions) and in any
combination of these.

Melodic Transformations
Retrograde, crab, or cancrizans played

backward, that is, from the end to beginning

Inversion or mirror contrary motion or as seen in
a mirror
Retrograde inversion a combination of retrograde
and inversion
original or rectus original or unmodified form of a
melody
Augmentation increased rhythmic values, usually
doubled
Diminution decreased rhythmic values, usually
halved

Melodic Transformations
Retrograde, Inversion and Retrograde

inversion

Melodic Transformations
Melodic transformations using the theme of

Row row your boat:

MUSICAL OFFERING, S. 1079

(1747)
Johann Sebastian Bach (16851750)

Perpetual canon on the royal theme

Diverse canons on the royal theme
1. Two parts
2. For two violins at the unison
3. Two parts in contrary motion
4. Two parts in augmentation and contrary motion
5. Two parts

Canonic Figure
Two-part canon inversion
Four part canon
Perpetual canon

MUSICAL OFFERING, S. 1079

(1747)
Johann Sebastian Bach (16851750)

CANONS are most effective when used for

passages within a larger framework

Canonic imitation figures prominently in many
development sections
Example on the next slide

VIOLIN SONATA IN A (1886)

4. Allegretto poco mosso
Cesar Franck (18221890)

The theme with which this movement opens is

stated as an accompanied canon

Piano plays the leader and the accompaniment
while the violin plays the follower
Each entrance is imitated canonically with the
violin and piano sometimes exchanging roles
as leader and follower
The other themes of the movement are either
homophonic or in free, non-imitative
counterpoint

VIOLIN SONATA IN A (1886)

4. Allegretto poco mosso
Cesar Franck (18221890)

FUGUE
Occupies the same position of eminence in

the baroque period (1600-1750) as sonata

form does in the classic period (1750-1825)
The form in which composers of the time cast
many of their most exalted musical ideas
Fugue form embodies the principle of
imitation, but in a much more imaginative and
flexible manner than does canon

FUGUE
SUBJECT
Is the concise idea of a fugue; the germ cell
Typically contain one or more motives which are readily
recognized and capable of sustained development
The subject is announced alone in one voice. It is
ansered immediately in another. The answer is not an
exact repetition of the subject.
Each voice of the fugue enters in turn with the subject
If it is a three-voice fugue, there will be three such
entrances. If it is a four-voice fugue, there will be four,
and so on.
When all of the voices have stated the subject, the first
section or main exposition is concluded.

FUGUE
EPISODES
The next section which consists of a series of
expositions in different keys separated by passages
without the complete subject
Normally contain fragments of the subject or of
counterpoints associated with the subject.

STRETTO
The final section of the fugue where there is a return
to the tonic key and traditionally, a passage with
overlapping statements of the subject
Subjects is imitated right before the subject has
finished

FUGUE
A fugue, is a MONOTHEMATIC FORM, but

frequently a counterpoint consistently

associated with the subject achieves the
status of a secondary thematic idea and is
designated a countersubject.
Countersubject a thematic counterpoint,
especially to the subject of a fugue.

WELL-TEMPERED CLAVIER, VOL. I

(1722)
Johann Sebastian Bach

Fugal passages occur in forms other than fugues,

particularly in the development sections of sonata

forms
Fugato a fuguelike passage within a form other
than a fugue. (fugal in style, but not a real fugue)
- fugatos often follow a plan similar to the main
exposition of a fugue, though some contain all of
the elements of a complete fugue
The last movement of Bartoks Piano Concerto no.

3 is in five-part rondo form, but one theme and part

of another are elaborate fugatos

PIANO CONCERTO NO. 3 (1945)

3. Allegro vivace
Bela Bartok (1881-1945)

Five-part rondo form (with fugato)

Theme I (rondo theme)
Transition

Theme II
Theme I
Transition

Theme III
Theme I
Coda

POLYPHONIC FORMS
CANONS
Round canons, perpetual canon, or rotas
Leader / follower

FUGUE
Subject / Episodes / Stretto

Additional Examples:
Canon Bach: Goldberg Variations S.988 (every
2nd variation is a two-part canon, most with one
free voice
Fugue Bach: The Art of Fugue, S.1080