so-calledGoldberg Variationsof Bach—is a perfect storehouse
of every conceivable canonic device.
A few standard examples are to be found in the Supplement.
These should be played over and studied until they are thor-
oughly familiar—not only for the pleasure to be derived, but for
the indispensable training afforded in polyphonic listening.
Ex. No. 9 Canon by Thomas Tallys (1510-1585).
Ex. No. 10 Canonic Variation by Schumann from theÉtudes
Symphoniques.Ex. No. 11 of Bach’sGoldberg Variations.
Ex. No. 12 Canon in B-flat minor, op. 38, Grieg.
Ex. No. 13 Canon in F-sharp major, op. 35, Jadassohn.
One of the most simple and direct types of polyphonic composi-
tion is the form known as theInventionin which, as the term im-
plies, the composer—through hisinventive geniusand by means
of the polyphonic devices of imitation and transposition—develops
to a logical conclusion some short and characteristic motive. We
are fortunate in having from Bach himself, that consummate
master of polyphony, two sets of such Inventions: fifteen for two
voices, and fifteen for three. These flights of fancy—in which
art so subtly conceals art—though originally composed for the
clavichord and harpsichord (the precursors of the pianoforte),
are very effective on our modern instrument and should be in
the possession of every music-student.[36] A brief analysis is now
given of the first one in the set for two voices, and Nos. 4, 8 and
10 in this set are particularly recommended for study; also Nos.
2, 6 and 14 among those for three voices. The opening motive
[Music]
is the foundation of the entire composition and is at once im-
itated, canonically, in the lower voice. Then the two voices
play about, with figures clearly derived from the motive, until
we reach, in measures three and four, a systematic downward
transposition of the material. Such transpositions or shiftings
up or down in pitch are calledSequences. They are very fre-
quent in all polyphonic composition, give a strong sense of unity
to melodic progression and are generally carried out in groups
of three,i.e., the original figure and two repetitions. After the