Canon a 3 in C-sharp minor "Domine, Quo Vadis?"

A three-voice canon at the unison (except for the tenor, which starts an octave lower than the upper voices) with text from the Vulgate as placeholder lyrics. The bass constitutes its own independent line. Specifically, for the text I took the versicles from the Book of John where the famous "Quo vadis?" is uttered by St. Peter before denying Jesus three times.

YouTube video link: 

Fantastic.
It is addictive, since it is very short, to listen to it over and over again.
I think that leaving the bass independent is a very valid technique and provides a base.
What I would suggest is that in measures 6, 7 and 8 the soprano and alto voices do not cross, since it can be done the other way around, keeping its logic.

On 8/22/2024 at 4:14 PM, Luis Hernández said:

What I would suggest is that in measures 6, 7 and 8 the soprano and alto voices do not cross, since it can be done the other way around, keeping its logic.

Unfortunately, due to the nature of the theme, the bicinium comprised by the upper voices is bound to include voice crossings, even if we inverted the voices, which I didn't consider the optimal solution due to the respective tessiture of the soprano and alto.

Neither this issue nor inverting the voice ranges would really be a problem at all if this were an instrumental canon, as the soprano would have no problem being transposed an octave (thus making it a strict canon at the octave instead of this half-transposed unison) upwards if it were played by, say, a violin. Naturally such a transposition would exceed the limits of a comfortable vocal range for most sopranos, so I ultimately chose to tolerate these momentary voice crossings, as in the end, each voice returns to its due course.

On 8/22/2024 at 4:14 PM, Luis Hernández said:

I think that leaving the bass independent is a very valid technique and provides a base.

Interestingly, composing an accompanied canon with an independent bass was not originally on the table, as I kept going bach and forth (pun fully intended) between smashing my head against the wall with an attempted strict 4-part canon and the outcome I got instead. In the end, through trial and error I ended up realizing that the former could not provide for full chords most of the time and eventually decided against it in order to keep the harmony as enriched as possible.

I think I understand that this crossover is due to the requirements of the text, is that so? Since the contralto answers the soprano.

On 8/24/2024 at 10:00 AM, Luis Hernández said:

I think I understand that this crossover is due to the requirements of the text, is that so? [...]

Admittedly, I may not have explained myself clearly enough. The canonic theme/melody as it currently stands necessitates said voice crossings if imitated at the unison. It has nothing to do with the text.

Hey @Fugax Contrapunctus!

I like this piece!  Correct me if I am wrong, but ignoring the independent bass voice, this is actually more of a round than a canon.  The tenor starts, followed by the soprano and then, the alto.  The imitation is carried all the way to the end for the last voice, the alto with the other three voices modified to reach a satisfactory conclusion.  If I understand it correctly, it might be both a canon and a round?  From what I remember, a round has a modular imitative structure which is why I started to think that this was a round.  Thanks for sharing this enjoyable short imitative piece!

Hi Pabio @Fugax Contrapunctus,

The counterpoint for this short canon is lovable! Just one question, is the long held note in the second half of a measure in most of the bars the signification of asking or answering a question? Otherwise I may just make the second half also more moving as well. thx for sharing!

Henry

On 9/26/2024 at 5:30 AM, PeterthePapercomPoser said:

[...] Correct me if I am wrong, but ignoring the independent bass voice, this is actually more of a round than a canon.  The tenor starts, followed by the soprano and then, the alto.  The imitation is carried all the way to the end for the last voice, the alto with the other three voices modified to reach a satisfactory conclusion.  If I understand it correctly, it might be both a canon and a round?  From what I remember, a round has a modular imitative structure which is why I started to think that this was a round. [...]

Honestly, it may be both, though perhaps the modification at the end (which can totally be omitted by the way, as its purpose is merely to enrich an otherwise strict, though lackluster ending) makes it more of a round, as most proper canons in strict imitation opt instead to have each voice gradually fade out in order of entrance.

On 9/29/2024 at 3:44 PM, Henry Ng Tsz Kiu said:

[...] Just one question, is the long held note in the second half of a measure in most of the bars the signification of asking or answering a question? Otherwise I may just make the second half also more moving as well. [...]

I cannot really recall having had classical notions of harmonic phrasing in mind when composing this one, though I must admit the longer values at the 2nd half of each measure of the original theme are quite noticeable, so perhaps a little more internal motion between voices would have been preferable. As I will most likely end up revisiting this composition in the long term, I shall take your criticism into account once I set out to do so.

Thank you both very much for your reviews of this humble work of mine.