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By A. Belkin

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The most common sort of canon, by far, is that which is usually presented as the simplest: the two part canon at the unison or the octave. However its simplicity is deceptive. It is easy to see and to hear, but it poses a serious problem of harmonic monotony. The reason is obvious: the following voice is always repeating the same pitches as the leader, which, in turn, suggests the same harmonies yet again . If this harmonic stasis is not overcome, the canon becomes an endless and aimless harmonic circle.

Koechlin, Charles. Précis des Règles du Contrepoint. Paris: Heugel, 1934. Oldroyd, George. The Technique and Spirit of Fugue. London: Oxford University Press, 1974. Piston, Walter. Counterpoint. New York: W. W. , 1947 Prout, Ebeneezer. Fugue. New York: Haskell House Publishers, 1969. Salzer, Felix, and Carl Schachter. Counterpoint in Composition. New York: McGraw-Hill Book Company, 1969. • • • • • Schoenberg, Arnold. Coherence, Counterpoint, Instrumentation, Instruction in Form. Lincoln, University of Nebraska Press, 1994.

Preliminary Exercises in Counterpoint. New York: St Martin's Press, 1970. Soderlund, Gustave. Direct Approach to Counterpoint in the 16th Century Style. New York: Appleton-Century-Crofts,1947. Tovey, Donald Francis. A Companion to "The Art of Fugue". London: Oxford University Press, 1960. Tovey, Donald Francis. The Forms of Music. New York: Meridian Books, 1963. © Alan Belkin, 2000, 2008, 2009. Legal proof of copyright exists. The material may be used free of charge provided that the author's name is included.

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