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MORE Canons!!
Canon:(5) Imitation of a complete subject by one or more voices at fixed intervals of pitch and time. If each
successive following (comes) voice follows the leading voice (dux) in every detail, the canon is strict; if, however, the
comes modified the dux by minor changes in accidentals, the canon is free. Originally, canon referred to the verbal
motto or rule by which the comes could be derived from the dux. In such cases, only the dux would be notated.
Canons may be self-contained entities or may occur within larger pieces (canonic imitation). They may also be
combined with independent lines (mixed or accompanied canons) or even with other canons (group or compound
canons).
Round: A perpetual canon at the unison. One singer or group begins an appropriately composed melody, and on
reaching a certain point, is joined by a second group that begins the melody. When the second reaches the same point, a
third begins, and so on until all voices or parts have entered, which will have occurred before the first singer or group
reaches the end and is itself ready to begin the melody again. On reaching the end, each part may return to the
beginning immediately, and the piece may continue indefinitely or until one part has made an agreed-upon number of
repetitions.
Canons Shared:
*Mi Gallo A Ram Sam Sam/World Drumming
*Tombei Accompaniment available by Will Schmid*
Perche Vezzosi Rai World Wide Hello
*Hotaru Koi *Lachen
Ich Will Den Herrn-instrumental (Telemann) *Coffee Canon
Kaeru No Uta *Le Carillon
Arirang
It is generally best to address only one concept. (In the Kodaly classroom, you would
consider if the song is going to fit into the preparation, presentation, or practice
stage). Given a 30-minute lesson, you wont want to only sing one canon. The
canon/round is just one tiny piece of the puzzle. Also, keep in mind that canons and
rounds are not just for singing. Instrumental ensembles (including Orff and bells) can
get just as much out of learning canons and rounds.
Step One: Teach the Melody: We prefer not to use the piano while we are working
on canons since one overall goal is developing the musical ear. When we add
accompaniment, they can get more challenging. However, once a canon has been
learned it would be up to the teacher to determine if accompaniment (piano or
otherwise) will enhance the performance.
Step Two: Divide into ONE division: The students must be completely confident
singing the melody alone without teacher or piano. Once fully prepared, add one
part.
Start with one division (teacher is the canon)
Class leaders to model divisions
Step Three: Continue adding divisions: Keep adding parts one at a time until the
necessary number has been achieved.
It is important to note that throughout the entire process we stress good singing techniques such
as posture, breath, tone, pronunciation, and articulation. In addition, we want the singers to be
training their ears while learning and performing. Teachers can assist this by pointing out
melodic contour and stopping at cadence points to help with intonation. We must never let our
students sing on auto-pilot.