In this specific, three-voice canon, the
artifice (highly praised by musicians of the past) of double
counterpoint at the twelfth is employed, in which the two first
parts in play lead, by canonical imitation, the third voice;
which enters after the pause separating Proposal from Response
(in this case after a semibreve).
Adherence to the privative rules that govern this counterpoint, correspond to the deprivation of the sixth interval (understood as consonance) between the two of them (A and B), and allows the dissonances (obviously linked) of
Fourth and Eleventh above, resolved to the Third and Tenth, as well as
to the ninth below, resolved to the tenth.
Two types of canon can be realized, depending on the setting of the response pouring, we can realize the canon
by pouring the proposal a low fifth and recopying the response an octave high 5/8
by pouring the proposal one octave low and copying the answer one fifth high 8/5.
Let us see, the comparison section of the tabula, related to the double counterpoint to the twelfth
The green boxes represent consonance shares between B and C, while the colorless boxes mark dissonances
or consonances without mutual correspondence.
Adherence to the privative rules that govern this counterpoint, correspond to the deprivation of the sixth interval (understood as consonance) between the two of them (A and B), and allows the dissonances (obviously linked) of
Fourth and Eleventh above, resolved to the Third and Tenth, as well as
to the ninth below, resolved to the tenth.
Two types of canon can be realized, depending on the setting of the response pouring, we can realize the canon
by pouring the proposal a low fifth and recopying the response an octave high 5/8
by pouring the proposal one octave low and copying the answer one fifth high 8/5.
Thus, the case under consideration is No.
1
In fact, the third voice (C) is the transport of the voice (B), an octave above
In fact, the third voice (C) is the transport of the voice (B), an octave above
Let us see, the comparison section of the tabula, related to the double counterpoint to the twelfth
The green boxes represent consonance shares between B and C, while the colorless boxes mark dissonances
or consonances without mutual correspondence.
C B |
 |
Finally, we can check the nature of the interval relationship, between A and B (the canon matrix) and the added part C,
produced by pouring back to the octave above B, by comparing the consonances and dissonances between the musical score and the numerical superposition given above.
The experience gained allowed to proceed smoothly, but observing the privative rules (without sixth as consonance) that donated the canonical imitation of the third and wanting, of the fourth part.
