Writing a Canon by Augmentation - Writing Canon
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- Опубликовано: 9 июл 2024
- Learn how to write a canon by augmentation. In a canon by augmentation one part begins then the second part follows on several beats or bars behind using the same pitch as the first part but presented in notes of twice the value. This lesson demonstrates what this looks and sounds like by working an example and covering the issues the challenge raises for melodic, rhythmic and harmonic design. This video is useful for anyone wanting to understand canon techniques and for anyone wanting to write canon or counterpoint.
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🕘 Timestamps
0:00 - Introduction to canon by augmentation
0:30 - What does augmentation mean?
1:55 - Writing the opening
3:05 - Adding the second part
4:37 - A mobile upper part
5:46 - Harmonic thinking
7:43 - Augmenting the upper part
9:12 - Writing a free part in the remaining bars
12:34 - The final cadence
13:33 - Playing the composed canon
13:54 - Conclusion
🎓 Writing Canon Course
Learn how to write a successful canon, something many composers struggle with. This course will show you many different techniques and a tried an tested method for in writing two parts that are linear in design but which also hold together harmonically. Becoming confident at writing in canon is a prelude to developing further skills in writing counterpoint. We cover all the essentials of writing in canon, with every step clearly demonstrated. Sign up today and learn how to write your first canon!
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Something like 20 years ago I heard a radio programme about Die Kunst der Fugue (JS Bach), and I was inspired to write short music where to voices in double/half tempo, the fast part playing twice. Quite a fun, almost mathematical conondrum. In my case the slow part was the upper part. I think that is a good idea, as it's often easier to hear the melody in th upper part, and the slow version is harder to hear as a melody. Having it both slow and in the lower part can make it harder to "hear".
I've been trying to write fugual music lately ... or more like a fughetto I guess. I'm not to concerned about following all kinds of fugue rules and convensions strictly. It can be quite hard, but it's fun and rewarding!
Absolutely. Enjoy!
That worked really well! I wonder how it would work if the augmentation was in the treble part. My suspicion is that the piece would seem to drag more. I'll have to give it a try.
It can work that way
When I read the title I thought that all the canon would use augmented chords, which is silly. 😊 Thank you for this great video! Have a nice day.
Glad it’s helpful. Much more at www.mmcourses.co.uk
God bless this man 🙏❤
You’re too kind. Much more at www.mmcourses.co.uk
Thanks for the video, best regards from Argentina!
I just join the channel, because... music matters! :D
Welcome!
Gracias!
A pleasure. Much more at www.mmcourses.co.uk
Merci beaucoup.
A pleasure
I'm curious about how well this method extends before things get distressingly complex... how about three voices, the 2nd in augmentation and the 3rd in diminution (and maybe at the 5th?) I appreciate that doing that for the piano would introduce an additional set of considerations (i.e. what is physically playable) that might put it beyond the scope of a 15 minute demonstration, but it would still be fun to see.
That scenario soon becomes more complex but it’s amazing what’s possible.
Bach, Art of Fugue, Contrapunctus 6 a 4 in Stylo Francese Fuga inversa
Stretto fugue with augmentation and diminution
@riverstun 😀
I thought you were going to augment the fifths 😅
😀
Great lesson. Now what if you had originally written a triplet, what would be your augmentation of that?
You could double the values eg quaver triplet becomes crotchet triplet.