Writing Two-Part Canon - Writing Canon
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- Опубликовано: 25 июл 2024
- Learn how to go about composing a strict canon at the unison or the octave in two parts. This lesson explains the most useful technique for constructing a strict canon bar by bar, in such a way that the melodic line has shape and direction, while maintaining rhythmic independence and creating harmony & inessential notes that all blend together. Apart from learning to write canon, this video teaches how to write good two part counterpoint.
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🕘 Timestamps
0:00 - Introduction to writing two-part canon
1:48 - Thoughts and planning
2:29 - The writing process
15:06 - Playing the composed canon
15:25 - 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!
www.mmcourses.co.uk/p/writing...
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Writing Canon - Get the rest of this course here for FREE!
www.mmcourses.co.uk/p/writing-canon-course
Please teach us fugal writing
Please do!
Please
Have a look at our Fugue writing webinar at www.mmcourses.co.uk
Please
See our writing fugue recorded webinar at www.mmcourses.co.uk
Thank you, Mr Greene. This is instructive and easy to absorb. You have answered the questions concerning how to begin composing canons.
Enjoy
This channel is coming very far. Very unique videos.
Glad it’s helpful. Much more at www.mmcourses.co.uk
Love your videos. Never miss one!
Glad it’s helpful. Much more at www.mmcourses.co.uk
Thanks, Gareth - really useful as always!
Glad it’s helpful. Much more at www.mmcourses.co.uk
as a music student in university, these videos have been helping me immensely in catching up with work and revising for my counterpoint class! Thank you so much~
Excellent. Much more to help you at www.mmcourses.co.uk
Good luck with your studies.
Nice Video Garreth.
This was very informative.
Glad it’s helpful. Much more at www.mmcourses.co.uk
That's extremely helpful. I've tried doing exactly what you warned against (creating the entire melody line first) and it was a real challenge. Your suggestion makes the process much more efficient.
Glad it’s helpful
Love your videos Gareth...this aspiring/wannabe composer always finds them helpful and inspiring
Very very very very good!
Thank you very much!
Glad it’s helpful. Much more at www.mmcourses.co.uk
Absolutely amazing!!!!
Glad it’s helpful. Much more at www.mmcourses.co.uk
Thank you so much. Hoping to get my students in HMP composing this year.
That’s brilliant
Cheers Gareth!
Glad it’s helpful. Much more at www.mmcourses.co.uk
great technique!
Glad it’s helpful. Much more at www.mmcourses.co.uk
Wonderful video. It looks like writing canons can help strengthen skill both in homophonic (chordal) as well as counterpoint composition. My guess is that adding a third, fourth, etc. parts increases the difficulty exponentially. Sounds like a delightful challenge. We’re you afraid I’d run out of things work on this summer?
Ha ha! Writing canons is very helpful to sharpening up homophonic and polyphonic writing
Great video as always, much more helpful than studying dusty harmony books :)
Glad it’s helpful. Much more at www.mmcourses.co.uk
I would like to try this. I would be great if I could get hold of the pre-made staff for my iPad. I have the Apple Pencil.
Go for it!
Thanks
Your support is much appreciated. Thank you
Thanks a lot, please teach us how to accompaniment,piano and singer I mean🌹
😀
Firstly, thanks for all your great classes. Would it be possible to do a class on ostinato?
We could do that.
@@MusicMattersGB Thanks!
😀
Thank you. Does a strict canon have to have parts that enter with the same note (or at the octave)? Would it no longer be a strict canon if the second part entered a fifth or fourth lower (or higher)?
A strict canon is one in which the intervals in the imitating voice are the same as the voice being imitated. If your canon is at the unison or the octave and imitates exactly the lead voice it will always be a strict canon. If your canon begins on a different scale degree sometimes you will have different intervals if you copy exactly. For example if you begin on the tonic in a major key and leap up by a third it will be a major third, while if the imitating voice begins on the third and goes up a third to the fifth this will be a minor third. It is possible to write a strict canon at any interval, but it can be tricky to ensure that it all works well harmonically. This can however lead to some much more interesting harmonic movement than would naturally occur in a strict canon at the octave or unison would.
@@InceyWincey Thank you, so you have to keep to the absolute intervals rather than the intervals relative to the scale of the key.
This is where it’s sometimes helpful to write a canon that isn’t strict.
@@martinbennett2228 yes. As MM says, it may be easier to write a free canon instead, but if you do really want to write a strict canon there is nothing to stop you. A good challenge can be very educational.
Absolutely
I have question sir
You said it's a strict cannon and everything gets copied in the other voice
But the last cadence ( the suspention part ) doesn't get copied down and the soprano voice ends with a little bit of new idea to company the other voice , is that okay in writing cadences?
It’s fine to modify for the cadences. It’s also fine to modify elsewhere if you’re not writing a strict canon.
so 5:49 to like 7:00 youve more or less lost me. What should I be trying to learn to be able to understand what all that meant?
I think this video is one that's helping me to understand how music is written, how when you start with something simple and follow the rules (more or less) it comes to a unique result. I just still dont quite understand what those "rules" are that he's following. Other than the given that the left hand is following the exact melody of the right hand just a bar later, and that it has some effect on how the right hand continues. The main effect that I can see is that they want to alternate between being busy and slow.
It’s about ensuring that both parts also harmonise. Much more on this at www.mmcourses.co.uk
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😀
Thanks
Thanks very much