CHAPTER XVII.
The Round, or Round-Canon.
188. The simplest and most venerable application of the principle of Continuous Imitation is made in the so-called Round-canon. This is usually written for at least three, sometimes four, but seldom more, vocal parts, and is nearly always a Canon in unison (or 8ve) Imitation.
The Leader begins with a distinctly lyric (melodious) Phrase, commonly 4 measures long, with a fairly definite semi-cadence; more rarely it is a 2-measure member, or a Period (8-measure, or irregular) with the usual two cadences. Thereupon the first Follower reproduces (or imitates) this leading phrase, while the Leader continues with a counterpoint, similar in character but melodically well contrasted (see par. 35a, and par. 165, Rules 1, 2, 3), if possible with a modulation, to avoid monotony. After the leading phrase is thus again finished, the second Follower enters and announces it, while the first Follower continues with the preceding “counterpoint,” and the Leader adds a new contrapuntal phrase to these, again well-contrasted. At this juncture the original counterpoint (in a 3-voice Round) is complete, and represents a Triple-subject, exactly as in par. 180, but with less rhythmic diversity, and so contrived that the 3 parts (A, B, and C) constitute a continuous melody in phrase-group form, and returning to the beginning (whence the designation “Round”).
What follows, as the voices continue their rotatory Imitation, or following, of the Leader, is simply Inversion of the voices, and presents nothing new, — in the unison-canon not even the effect of Inversion; therefore the Imitation is generally extended only until the last Follower has finished the entire phrase-group, whereupon a free cadence, of any length, is added, to terminate the Canon.
If a low voice (Alto or Tenor) is used in company with two high ones, or if, in any way, the Triple-subject is so devised as to embrace different registers, the 8ve-Imitation may also be employed; and in that case the effect of Inversion will be secured, subject to the usual tests (par. 181a).
For a 4-voice Round the process is the same, but the desirability of 8ve-Imitation, in company with the unison, is greater; hence, parallel voices are likely to be chosen (2 Sopranos and 2 Tenors, or Altos and Basses). The text must be so chosen as to cover either the leading phrase only, or exactly the entire group of 3 (or 4) phrases. For illustration (3-voice Round-canon):
*1) From here to Note *2) appears the union of the three voices, or the “Triple-subject” which constitutes the body of the entire Canon.
*2) Here the Leader ends the canonic melody, and returns to the beginning.
*3) The 1st Follower continues with the third Period (that of the Leader at Note *1).
*4) The 2nd Follower continues with the 2nd Period (meas. 8).
*5) In the Original, the 3 voices continue thus together for 14 measures, or until the 2nd Follower has finished the canonic melody. The student is to write out these measures, and, if possible, have the whole Round sung.
It is evident that the single canonic melody — the upper staff alone up to Note *2)—is all that need be written in order to indicate the contents of the whole. The 3 singers may all read from this single staff, but beginning successively, at each new Period, and continuing as long as desired. Or, it is also possible to write out the Round in score, precisely as shown from Note *1) to *2). In that case each singer begins with the lowermost staff, passes successively to the next higher, and finally around to the lowermost again, and so on. This method is illustrated in the following:
[As Written Above]
[Realized as a Round]
Write out this Round in its complete form, beginning as in Ex. 183, and continuing until the 3rd Follower has completed the canonic melody. Mozart made no provision for a perfect cadence (Tonic); the Round is therefore “endless.” Such provision could, however, easily be made by adding a free codetta of one (or more) measures, when, as here, the Canon is written in score. Or a stopping-place may be indicated, either for each part successively, or for all together, by the [fermata] sign.
These examples are both taken from the Breitkopf & Härtel ed. of Mozart’s complete works (Serie 7, Nos. 41 to 61).
See further, from the same, No. 46; Round for 3 voices, unison; Follower begins after 10 measures (irreg. Period-form); ends with perfect cadence. — No. 47; 3-voice, unison, after 14 measures (Group of 3 phrases, extended); perfect cadence. — No. 52; Round for 4 voices, unison, after 6 measures; the Canon is “endless,” but provision is made for a cadence. — No. 45; 4-voice, unison, after 8 measures; no cadence. — No. 55; 4-voice, unison, after 4 measures; “endless,” but a stopping-place is marked. — No. 56; 4-voice, unison, after 3 long measures; no cadence. — No. 57; 4-voice, unison, after 6 measures; no cadence. — No. 59; 4-voice, unison, after 8 measures; no cadence. — No. 60; 4-voice, unison, after 4 measures; “endless,” but cadence provided for. — No. 44, Round for 6 voices; all unison, after 4 measures; no cadence. — No. 48; 6-voice, first Follower in unison, the other four in lower 8ve; after 2 measures; no cadence.— Brahms, Round-canons, op. 113, No. 1; 4-voice, unison, after 4 measures; cadence provided for. — No. 2; 3-voice, unison, after 7 measures. — No. 3. — No. 4. — No. 5. — No. 7; 3-voice, unison, after 10 measures. — No. 10. — No. 11. — No. 12. — No. 13; 6-voice, in the following unique disposition: 4-voice Canon in upper parts, unison, after 9 measures; and, as accompaniment, 2-voice Canon in lower parts (8ve, after one measure).
Many other examples of the Round, both classic and popular, may be found in various collections of vocal music for instructive or social purposes.
189. Closely allied to the Round, but inclining toward the structure of the Progressive Canon, is a form of very pronounced Lyric character, in which (as a rule) there is no return to the beginning, and consequently no such rotation of parts as in the Round. The leading sentence is often of considerable length — 8, 12, or even 16 measures, in very definite Period, or Double-period, form; the number of voices is usually 3 (sometimes 4); and the form generally extends no farther than through the announcement of the leading sentence by the last Follower. A simple harmonic accompaniment is added (par. 201d).
Probably the most masterly example of this form is the famous mixed quartet in Beethoven’s “Fidelio” (No. 3, in the First Act). The leading sentence is a regular Period of 8 measures; this, and the succeeding canonic counterpoints, are imitated in the usual manner by the Followers (in the unison by the other female part, and lower 8ve by the two male voices), until the last Follower has finished the original leading Period, whereupon a free homophonic coda of 12 measures is appended. The rhythm of the accompaniment is gradually accelerated from quarters and 8th-notes to 16th-triplets.
Rossini, “Semiramide,” Act I, No. 3, Quartet, second division, Di tanti Regi; 3-voice, auxiliary 4th voice during last announcement; independent Coda. A beautiful example.
Rossini, “Moses in Egypt,” Act III, Finale, Quartet, Je tremble et soupire; 4-voice; slightly irregular near end. Also Act II, No. 8, Quintet, O toi dont la clémence; 5-voice; transposed announcements of leading Period; irregular; independent Coda.
Of similar design is the Quartet, Urbs Syon inclyta, from “Hora novissima” (H. W. Parker), No. 11, already cited among the vocal Fugues.
Mozart, No. 61 of the above volume, is an example of this kind, as far as lyric style is concerned; but the imitation is extended to the characteristic rotation of the Round (cadence indicated by [fermata]), and there is no accompaniment. It is 3-voice, unison, after 11 measures (extended Period).
EXERCISE 53.
A. Write two or more examples of the Round for 3 voices, in unison, unaccompanied; “endless,” but with provision for a cadence.
B. One or two Rounds for 4 voices, in unison and 8ve, with Coda.
C. One or more Lyric canons for 3 voices (unison and 8ve), accompanied, with Coda, according to par. 189.