Anatomy Room
Canon alla Decima Contrapunto alla Terza
Canon at 10th, 2 voices, 4/4-12/8 beat, 82 bars


A piece with two voices is mainly divided into the first half and the latter.
The lower voice goes ahead in the first half and then the upper voice
chases it at tenth degree higher. In the latter half, the two voices are
interchanged by double counterpoint at tenth degree which is applied
throughout this piece and partly in Cp.10.

It starts out the variant common theme in inverted form resembling
especially Cp.4, Cp.2 and Cp.3 having syncopated variant theme.



From bar 9, the theme reappears in the lower voice. Now you might notice
that when the theme in the upper voice starts at ゛c''゛ from bar 5, its
counter melody in the lower voice is ゛a゛, and that when the theme in the
lower voice starts at ゛c'゛from bar 9, its counter melody in the upper voice
is ゛c''゛, which clarifies that both are interchangeable by double
counterpoint at tenth degree, proven at the very beginning of the piece.

The music below is the beginning of the latter half, in which the voices are
interchanged, making it practically be a canon at octave.



Now please look at the music below and compare the remarkable
differences between the first half and its corresponding part in the latter
half so that you will find some notes sharp or flat in a semitone depending
on its tonality.



Here the upper column from bar 38 suggests subdominant key ←dominant
of subdominant key and the lower from bar 77 implies tonic key　←
dominant of tonic key. Such tonal adjustments are found at other parts.

Coda from bar 79 takes exact 4/4 beat and the diminished theme comes in
the lower voice.



Cadenza at bar 81 requires improvisational performance, only this time in
this cycle.

Anatomy Room