How to Compose a Canon || Imitative Counterpoint 1 

Since the revolutionary war, I haven't used my canon much. But this video definitely helped me.

Yes, following all the rules & making logical progressions is one thing but the genius is to also make it musical. That's Bach's genius. He just doesn't follow the rules but then again makes it an actual listenable piece of music & not just a contrapuntal exercise. Thank you for your tutorials because they inspire me & also make it quite clear & understandable as to the "mechanics:" of this all comes together.

The fact that I missed the publication of this video is a friendly reminder to hit the notification bell.

I'm currently taking a Musical Counterpoint class at university, and I found this very interesting. Thank you!

"I composed several different exercises at different interval of imitation and time delays before choosing the best one to show you. And each one took several hours. Good luck."

Thank you so much for this lesson, Doctor Gran. You introduce the issue of differing time delays, which I think is so much of the ingredient of genius by such as Handel, that a mortal might go a lifetime & miss. Sean Reilly, Ireland.

Next week, Jacob Gran tackles something easier: making 3-D crossword puzzles in Latin. 8-) To me, that last B note hangs for too long; it sounds better to me if it's played as two quarter notes instead of a half note.

Perfect mr. Jacob Gean, perfect.

I found this channel a couple of weeks ago, and started binge watching it immediately. I can hear the time and love that goes into this videos, so thank you for helping me get started as an aspiring composing, and see the cogs as an experienced musician.

Honestly, this youtube channel is one of the best things I have come across!

Your content is gold,thanks a lot Gran

Thank you so much for this series, and I am very happy to see you are continuing to add new content! Thank you!!

Just found your channel Dr. G! I'm glad you're doing these high-quality lessons on some of the more complex topics in music theory. It's nice to see actual theorists discussing theory topics and not your run-of-the-mill "pop" theorists. Keep up the good work!

good work, Jacob!!

Love Cannons!! i used canonic writing in my string quartet!! great video!

i think i wasn't breathing... this was so suspenseful... but i was rooting for you the whole time... ✊🎵🎵

Amazing video! Thanks!

This is perfect! Just what I was hoping to see.

Wow your videos are pretty good! Keep it up!

Maravilhoso!!!!!!! Que explicação fantástica.

He's back!

Great content as always Jacob. Interestingly, in the Brahms example both imitations support two different tonal interpretations of the same E-D-C# cadential melodic cell. First as 4-3-2 in Bm, then as 2-8-7 in D, both relative keys to each other.

Amazing keep going

Thank you very much for your kindness and generosity, Dr. Jacob! It really inspires me hope to see that a video with such high quality content is reaching so many people around the world. And thanks for the tip of pausing the video at 14:28! Stopped there and after I try solving it should get back to the video. Greetings from Brazil 🇧🇷

Can we have a "How to Compose a Sonata?"

I was hoping this was about a song with cannons firing in it, gotta love reading "cannon" when it clearly says "canon"

excellent cette video

I'm glad I found your channel! I wish I had access to it when I first studied species. Now I am going back and doing all of the exercises again, but now audiating everything I'm doing rather than treating it as a sudoku puzzle... Do you have any advice on how to audiate counterpoint better?

4:37 Much like the opening prelude of the WTC!

Gracias por la traducción al español...

I am currently working on a set of canons with different numbers of voices at different intervals along with these melodic alterations: Retrograde Inversion Retrograde Inversion Augmentation I'm starting with a 2 voice Canon at the Unison and will end both the 2 voice and 3 voice sets with a Canon at the Octave. I'm wondering though whether I should have 8, 13, 15, or 25 canons in each of the 2 sets of interval canons. In case you are wondering how I got those numbers, here's how: 8: Diatonic intervals from Unison to Octave, not counting both lower and upper intervals 13: Chromatic intervals from Unison to Octave, again, not counting both lower and upper intervals 15: Diatonic intervals from Unison to Octave, counting the lower and upper intervals as separate intervals 25: Chromatic intervals from Unison to Octave, counting the lower and upper intervals as separate intervals. I mean, most people I have heard talking about interval canons talk about the diatonic intervals only. On the other hand, Richard Atkinson, one of my favorites when it comes to musical analysis has a set of 13 canons at chromatic intervals and I like his canons, they sort of blur the line between tonal and atonal. Like, it's clear that it starts in 1 key and ends in another key, but the musical sea between those points is blurry and has no clear modulation points as I have seen in other canons that start in 1 key and end in another key. ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-57APZ4I5TPo.html

Thanks you 🙏🙏❤️

Gracias por los subtítulos!

Wish that you will post more about how to compose classical music

Another great video as always, Mr. Gran! 😎 Your video made me wonder about a few things: 1. Can the "strict unison canon" (for the sake of the specificity) be related to the *echo* effect? I've understood that type of canon just like singing out loud at the Grand Canyon; the voice as _leader_ and the echoes as _followers._ 2. In your Brahms example, you've shown that even a 8th-note delay could be appointed as a canon. So, can the (in)famous *dotted-8th delay* (that echo effect which can be heard in many songs of U2 or Pink Floyd) be considered as a modern "strict unison micro-canon"? And could it be considered as polyphony in some cases?

awsome thanks a lot

This video is great, and I look forward to exploring the others. I would describe that Corelli example at the start as canonic. Sure, the second voice ceases to imitate the first in bar 5, but until that point it has been an exact replica - a four-bar canon. Corelli then resumes the canonic writing after the cadence at the end of this excerpt. 'Imitation' is a very woolly term, and I _tend_ to associate it more with shorter fragments being exchanged, possibly with no overlap, rather than long stretches where two voices are out-of-phase, like a stretto fugal entry. Perhaps talk about 'strict' and 'free' canons, depending on how much the composer tweaks the lines to make the harmony work?

Gracias.

I started composing last year on my own (barely had any theory classs during my school years but at leats I knew how to read sheet music hehe) and one of the first pieces I wrote is a 3-voice canon over a basso continuo similar to Pachebel's classic... let's just say that was probably a terrible idea, but I think I did okay ? Not so sure now that I've watched this video, loved it though ^^ Any chance you're doing quick reviews ?

Hey Dr. Gran, I’ve been following your counterpoint lessons and really love them! I had a question. Bear in mind, in terms of music theory I’m almost entirely self taught outside of a semester of piano so I apologize if this is kind of a weird or silly question. When talking about 3rds 6ths etc, I was always under the impression that it was meant that the interval in question we care about in this context is say, If you wanted the third for C you just go up to the third note in the scale starting with C, so E. But in some of the species counterpoint where Fux or Mozart filled in their ideal response to the cantus firmus, I saw the occasional sharp or flat thrown in as well. Is there something I’m missing in my understanding or were Mozart and Fux just being a little jazzy, for lack of a better word?

This is a great video indeed. Took me back 40 years... Just two remarks: The distance between soprano and alto in bar 4 is too large I think. In bar 8 you arrive at a unison by oblique motion, and it doesn't sound good at all.

Hello! You videos are very nicely done. May I ask if your graphics were done using After Effects?

24:45 Maybe I understood things wrong. But as I see this you could better use the notes g and d as half notes in measure 6 in the alto and d and a as half notes in measure 8 in the soprano. This woul mean a d minor chord with a fith in bass in measure 8, but as this is resolved by a tone step in the next measure, I feel it works.

I was expecting a video detailing how Tsaikovsky used cannons, but a interesting listen nonetheless

This is something I should have asked earlier but I forgot. In _The Tchaikovsky Counterpoint Exercises_ , you mentioned that Fux and Cherubini didn't offer actual advice on how to compose combined species counterpoint. Did Albrechtsberger mention something similar about combined species and tried to explain how to compose it?

did anyone else hear the first chord and instantly heard the opening of "don't talk" by the beach boys? same key and voicing and everything

what is the cantos fearmos thing you keep saying. I just need a quick definition im a jazz player so don't know the terms

In bars 9/10 there are two fifths between alto and bass, even they’re in contrary motion they are not allowed in three voices counterpoint, nor strict or free

The difference between a canon and a fugue is that in a canon the repeating theme always starts on the same note, while in a fugue it will be on the dominant of the key.

Hello, does anybody know of the recording Dr. Gran used in the example comparing a canon to an imitation at around 2:30? The Alto has just the most lovely voice and I’ve searched and searched but I can’t seem to find any information or the recording used!

For some reason the 11th movement of Bach's Magnificat sounds to me more like this type of canon than a fugue

That Bach notation though. Is that engraved? It's incredibly clear

Hello Jacob, do I have to learn invention before watching this video?

Si la musique est composée avec Dieu, l'inspiration et la technique, la musique est géniale. Mélangé la création avec les techniques du passé des grands compositeurs de la musique classique, l'inspiration tout zazimut de par l'univers du monde et Dieu en aide guidant sur la voie du chef d'oeuvre, l'oeuvre ne peut que plus être surnaturelle, mystique et magique emmenant dans un nouveau univers inconnu de toute beauté. Amen !!!

There is two consecutive 5te mesure 9-10 are you sure ?

I like major seconds sometimes so maybe this can work Alto: sol fa mi re Soprano: re do_do_do

Incidentally, the name of that clever French chap is pronounced "Feh-teece" :-)

Pause the video... It could be D, yes, it could only be D ... It must be D... Unpause. ... YEAH ITS F,*KING D!!! WOOHOO!!

So this is basically like row row row your boat?

isn't there mathematical equations we could use to make it faster?

Step One : Find your barrel Step Two : Make a wood frame Step Three : shoot

“How to become Pachelbel in a bunch of steps”

My dumbass thought this was gonna be about Tchaikovsky putting cannons in his music and how to do it ourselves.

Jist ask Tchaikovsky

3:41 SPOILER: My guess below. Canon at the 7th with a quaver delay between treble and bass starting on the last semiquaver of b. 3. ending part-way through b. 7. There's a slight alteration in that the bass part isn't tied over in bb. 5-6; is that what you meant by "two very short imitative passages"?

It's really dux and commas.

I came here to find out what a Canon is

Pie.

A. Corelli - Sonate da Chiesa Op.3 - No.7 in E Minor ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-wx9ZpOMdWZs.html

Franchement tu te donnes du mal, Jacob Gran. Tes vidéos sont bien. Cependant, ne compte pas sur les plate-formes pour te faire repérer et connaître. Fais une association avec un partenariat musical dans ton pays et trouve des mécènes pour un mécénat. Ce que tu fais c'est bien. Cependant tu perds ton temps. Car la musique classique n'attire pas beaucoup de gens comme moi et toi. Les gens sont plus dans la culture urbaine quel que soit le pays du monde entier. Fais un mix. Peut-être que cela fonctionnera. Cependant je ne suis pas sûr.