mt12 scheme ks3 canons
DESCRIPTION
canonTRANSCRIPT
Music Teacher December 20121
KS5KS3 KS3: Canons
by Alan Charlton
IntroduCtIon
Canons and rounds appear frequently in music education, from the classroom singing of simple rounds such
as London’s Burning and Frère Jacques to GCSE and A level set works by composers such as J.S.Bach, We-
bern, Bernstein and Steve Reich. However, when composing using notation or sequencing software, canons,
despite being fairly easy to create using cut and paste techniques, do not always produce a convincing result.
So how can you teach students how to write successful canons?
Starting with some performing of canons, which can involve ICT, this resource looks at how simple canons
work, focusing on London’s Burning. It then explores how you can go about composing a round on similar
lines. A ‘Canon Composing Kit’ is provided which enables students with little knowledge of music notation to
write their own four-part canons by following simple step-by-step instructions. Finally, the resource looks at
more intricate types of canons, with some optional accompanying activities.
The resource could be used to provide material for 2-4 lessons, depending on how much time is spent on the
performing and composing activities.
What are CanonS and roundS?
Ask the students whether they have heard of the following pieces:
� London’s Burning
� three Blind Mice
� Frere Jacques
� row, row, row your boat
What do they have in common?
They are all examples of ‘rounds’ or ‘canons’.
What is a round?
It is a piece of music consisting of a single melody, which is copied by different voices in turn and repeated,
producing a harmonious overall sound.
Why is it called a round?
Because once each voice has finished singing the melody, they start it again from the beginning, so the
melody goes ‘round and round’.
What is the difference between a round and a canon?
A canon is similar to a round, but the melody does not repeat: when the end of the melody is reached, that
voice stops.
Resources: � sequencing and/or notation software (optional)
� hand-outs � scissors and blue tack/glue for the ‘Canon Compos-ing Kit’
� internet access to listen to perfor-mances of canons
Alan Charlton is a freelance composer and has written numerous lesson resources for Music Teacher, including material on the IB set work El Salón México.
Music Teacher December 2012 2
Canons, rounds and ‘catches’ have been composed since the medieval period and are one of the oldest forms
of music in more than one part. The word ‘catch’ derives from a type of Italian canonic composition called a
‘caccia’, meaning a ‘chase’: in this composition the succeeding voices sound like they are trying to ‘catch’ the
first voice.
3 Music Teacher December 2012
Performing activity
If students are competent in classroom singing, teach and rehearse one or more of these rounds with them,
first as a single line, then in two parts, then three and four parts.
Otherwise, there are several recordings available on YouTube.
KS3 Canons: Well-known canons and rounds
Row,
1. Row, Row, Row your Boat
row,
row
your boat
gent
1.
ly- down
the stream;
mer
2.
ri- ly,- mer
ri- ly,- mer
ri- ly,- mer
ri- ly,- life
3.
is but
a dream!
3 3 3 3 3 3 3 3 3
2. London's Burning
Lon don's- bur
ning,
- Lon don's- bur
ning,
- fetch
1.
the en
gine,
- fetch the en
gine,
- fire!
2.
1.
2.
fire!
fire!
fire!
Pour
3.
on wa
ter,
- pour on wa
ter,
- Lon don's- wa
ter.
-
Three
3. Three Blind Mice
blind
mice.
Three
blind
mice.
1.
See
how
they run.
See
how
they run.
They all
2.
ran af
ter- the far
mer's- wife,
who cut
off their tails
with a
car
ving- knife,
did you e
3.
ver- see such
a sight
in your life
as three
blind
mice?
Frè
4. Frère Jacques
re
- Jac
ques,
- Frè
re
- Jac
ques,
- dor
1.
mez
- vous?
dor
mez
- vous?
Son
2.
nez- les ma ti
- nes!
- Son nez- les ma ti
- nes!
-
3.
Din,
dan,
don.
Din,
dan,
don.
5. Tallis's Canon
Praise
God
from
whom
all
bles
sings
- flow,
praise
1.
him,
all
crea
tures
- here
be
low,
- praise
2.
1.
2.
him
a
bove,
- an
ge
- lic
- host,
praise
3.
Fa
ther,
- Son,
and
Ho
ly
- Ghost.
Praise
Ho
ly
- Ghost.
4Music Teacher December 2012
hoW doeS a round WorK?
Ask students whether they think any melody can be performed as a round. As an experiment, pick a well-
known melody (such as a TV theme tune, hymn tune, chorus from a pop song), split students into three or
four groups and ask them to perform it as a round. The end result almost certainly won’t make musical sense.
Why does a round sound harmonious but another melody, when treated as a round, sound discordant?
The melody of a round is composed in such a way that when the parts are combined together, they form co-
herent chord progressions; when normal melodies are combined together like a round, the parts do not form
coherent chord progressions, so the music sounds discordant.
Now look at the phrase structure of a round, London’s Burning, in more detail.
� London’s Burning is divided into four musical phrases, each of which is repeated:
1: London’s burning
2: Fetch the engine
3: Fire! Fire!
4: Pour on water
� When the round starts, the leader sings phrase 1 (‘London’s burning’) on their own.
� When the leader moves onto phrase 2 (‘Fetch the engine’), follower 1 enters with phrase 1 (‘London’s burn-
ing’). Phrases 1 and 2 must therefore fit together musically.
� When the leader moves onto phrase 3, (‘Fire! Fire!’), follower 1 moves onto phrase 2, while follower 2 enters
with phrase 1. Phrases 1,3 and 4 must therefore fit together musically.
� When the leader moves onto phrase 4 (‘Pour on water’), follower 1 is singing phrase 3, follower 2 is singing
phrase 2 and follower 3 enters with phrase 1. Phrases 1, 2, 3 and 4 must therefore fit together musically at
this point.
� While the melody is being repeated, phrases 1, 2, 3 and 4 are heard simultaneously across all of the parts
in different combinations.
� as the parts drop out one by one, we are left with first phrases 2, 3 and 4, then phrases 3 and 4 and finally
ICT activity 1: recording a round melody and multi-tracking it
1. Set up a microphone for recording into an audio sequencer (e.g. Garageband or Cubase), and if possible ensure that the sequencer window can be seen by the whole class.
2. In your audio sequencing software, create four audio tracks, and set up the first track to record from a microphone, check-ing that the level is appropriate for the performers. You may need to mute this track to prevent feedback (a loud, unpleas-ant noise) when recording.
3. Set up a click track to play through headphones at the ap-propriate tempo for the round you have picked and set the time signature to that of the chosen round.
4. record a performance of just the melody of one of the above rounds. this could be sung by a soloist, a small group, the whole class, or played on an instrument. You will need to ensure that it is in a consistent tempo, so, if recording a group, you or a volunteer may need to conduct it whilst listening to the click track through headphones. If it is being performed by a solo performer, they should listen to the click track.
5. In the sequencer, copy the recorded melody track (which should be on track 1) onto the second, third and fourth tracks.
6. Pick three students to move the copied audio tracks to the cor-rect positions to complete the round. they may need to mute one or two tracks to help them. the tracks could be panned across the stereo field so they can be heard more clearly.
7. Play back the finished round and evaluate the result.8. If appropriate, repeat with different soloists, or using a different
round melody. If you have the resources, students can be split into smaller groups and given the same or a similar task.
5 Music Teacher December 2012
phrase 4 on its own, sung by the last voice to enter, follower 3. these combinations must also fit together
musically.
leader 1 2 3 4 1 2 3 4
follower 1 1 2 3 4 1 2 3 4
follower 2 1 2 3 4 1 2 3 4
follower 3 1 2 3 4 1 2 3 4
� therefore, phrases 1, 2, 3 and 4, when sung together, must make sense harmonically.
To see how this happens in London’s Burning, we can write out the four phrases underneath each other.
Hand out the sheet entitled KS3: How London’s Burning works (see Resources). This shows how the different
phrases combine when all four parts are singing together.
Explain that the diagram shows which notes are sung when all four parts are singing. So ‘London’s Burning’,
‘fetch the’, ‘Fire!’ and ‘Pour on’ together produce the notes D,A and C, which form the chord of D major 7 with
the F sharp missing. Similarly, ‘burning’, ‘engine’, ‘Fire!’ and ‘water’ sound the notes G,B and D, which together
produce a chord of G major.
So once all the parts have entered, the piece repeats the progression V7 - I (or in other words a perfect ca-
dence) over and over again until the parts start to drop out again.
Explain that all rounds have a repeated chord progression such as this underpinning them, which you could
work out in the same way as above, by writing the phrases underneath each other. What the round melody
does is build up the notes of the chord progression in such a way that it also forms an interesting, memorable
melody that is fun and easy to sing.
CoMPoSInG a round MeLodY BaSed on a tWo Chord ProGreSSIon
Explain that now that we know that a round can be made up of a repeated two-chord progression, it ought
to be possible to compose a canon using the process on the example sheet in reverse. So this would mean:
� pick or compose a two chord progression and decide on the key
� decide on the metre (e.g. 3/4 for London’s Burning)
� work out the harmonic rhythm of the canon
� work out which notes the chords contain
� devise four phrases that between them use all or most of the notes of the chords, while ensuring that it
develops logically and musically
� give the whole melody a shape by giving each phrase a distinctive rhythm
As an example, let us use the chord progression II - I and a time signature of 4/4, with a harmonic rhythm of a
minim on beat 1 for chord II and a minim on beat 3 for chord I.
Next, we’ll work out the outline of the melody. We need to find a way of using up all the notes in the chords,
while not creating too many awkward jumps. In London’s Burning, the phrases proceed in the following order,
which creates an effective shape and means that the jumps between phrases aren’t too wide:
Finally, we’ll add some rhythm to each phrase. This gives the melody some direction and a sense of shape. You
could derive the rhythm from words, names or phrases, for instance the names of streets, types of sport, or of
people in the class. (This example uses the names of Northern European countries).
Hand out the sheet entitled ‘Composing a canon based on two chords’ (under ‘Resources’).
This is the rhythm made by the places where the chords change, so in London’s Burning it would be upbeat crotchet for V7, downbeat minim for chord I
lowest phrase second lowest phrase highest phrase second highest phrase
6Music Teacher December 2012
Rhythms to rounds are often quite repetitive and simple. Typically, the first two phrases are fairly similar, the
third contrasting (and often the most complex) and the last similar to the first. Four-part rounds that follow this
pattern include Frère Jacques, Row, Row, Row Your Boat, Three Blind Mice and Ah, Poor Bird.
The canon melody is formed by joining the four phrases together. To hear the final result, it can then be per-
formed, or entered into notation software and cut and pasted onto four different staves.
aCtIvItY: the ‘Canon CoMPoSInG KIt’
The canon composing kit enables students with little or no knowledge of music notation to compose canons
by following these simple instructions. They can work in groups, pairs or individually, depending on what is
most practical. The kit is designed to create C major canons in 4/4, based on either two chords (repeated) or
four chords.
Extension activities: once students have finished writing and performing their canon, they can write another
canon with a more interesting melody, using more than one pitch in the two beat sections rather than a single
pitch.
Alternatively, they can write a double canon - a second melody based on the same chord progression as their
first canon, using different notes and rhythms: this could then be combined with the first melody to produce
an eight-part canon.
Hand out the two pages of the two sheets entitled ‘KS3 Canon Composing Kit’ (under ‘Resourc-es’): as students will be cutting them up, they need to be printed out on single-sided sheets.
Note that when students cut up of the sheet of rhythms, they will produce a large amount of tiny pieces of paper, so you should factor in some time for students to clear these up!
The ‘Canon Composing Kit’
Instructions1. First choose the chords on which the canon is to be based
from the chord and rhythm sheet.For two-chord canons (such as London’s Burning), choose
one out of options 1-3, and use the four chords on that particular line.
For four-chord canons, choose the first two chords from one out of options 1-3 and the remaining two chords from a different option. So, for example, if you choose option 1 followed by option 2, you would use the chord sequence dmin, Cmaj, Fmaj, Cmaj.
2. Copy out the chosen chords out onto the top stave of the working-out sheet and the notes they contain.
3. Write out melody notes for phrases 1-4, using the notes of the chords directly above. there should be four notes per phrase. So if your chord sequence is dmin, Cmaj, Fmaj, Cmaj, for phrase 1 you might write out d, C, F, C. For subsequent phrases, try to use notes from the chords you haven’t yet used. If you aren’t confident about reading music, write out the note names.
4. next, cut out the rhythms from the chord and rhythm sheet by cutting along the dotted lines. each rhythm enclosed by a dotted box lasts two beats and will fit into the blank boxes on the working-out sheet. You can use any combination of rhythms you like, but it is a good idea to repeat certain rhythms to give the canon a sense of structure. Stick the rhythms in using blue tack or glue once you have finalised them.
5. optionally, you can create lyrics that match your chosen rhythms.
6. once you are satisfied with your canon, write it out on the staves at the bottom of the working-out sheet. to hear what your canon sounds like, either rehearse and perform it with a small group or copy the canon melody out into notation software and cut and paste it onto four different staves at two bar intervals.
Hint: it is easiest to start with the bottom notes of the chords for phrase 1 and then use progres-sively higher notes for subsequent phrases.
Hint: if in doubt, choose simple rhythms. A good rhythmic structure is for phrases 1, 2 and 4 to be have a similar rhythm and for phrase 3 to be contrasting
7 Music Teacher December 2012
other tYPeS oF Canon
Explain that in the Renaissance and Baroque periods of music (spanning roughly the years 1450 to 1750),
some composers wrote highly intricate types of canon to demonstrate their mastery of composition. This tradi-
tion was taken up again in the twentieth century. These include:
Puzzle canons
In this type of canon, a composer would just write out the melody and not reveal the places in which the imi-
tating voices were to come in, or at which interval they were to begin. These were aimed at other musicians,
giving them a puzzle to solve, like a crossword.
Discussion
How satisfied were students with their canons?
What did they think worked well and what worked not so well?
If they tried to perform it, how easy was it?
What did they find the most difficult aspect of the task and why?
What importance do they give to the ‘cleverness’ of canons? Does a canon’s ‘cleverness’ make it better music?
The canons we have looked at so far have been canons at the unison, i.e. with the following voices starting on the same note as the original. However, canons can start on a differ-ent note (such as a fifth higher), which requires more skill to write.
8Music Teacher December 2012
Crab canons
This form of canon was usually for two voices, with the second voice being the same as the first backwards.
An example can be seen in J.S.Bach’s A Musical Offering. To prove that Bach’s canon really is the same backwards as forwards, you could enter the top line into Sibelius or a fairly powerful sequencer such as Logic, and reverse it (in Sibelius choose retrograde from the plug-ins folder; in a sequencer there is normally a ‘reverse pitches’ function).
KS3 Canons: Crab Canon from J.S.Bach, A Musical Offering
In this type of canon, the lower voice is the same as the first voice backwards
4
7
11
16
First six bars of top line:
Last six bars of bottom line:
9 Music Teacher December 2012
Canons by inversion
In this type of two-part canon, the second voice has an upside-down version of the canon melody, using the
same rhythm. An example of one of the author’s own canons by inversion can be seen in
Vivace
q. = 85
Inverted Canonfor keyboard, or treble and bass instrument © Alan Charlton
KS3 Canons: Inverted Canon by Alan Charlton
f
In this type of canon, the lower voice is the same as the upper voice upside-down
p
f
p
8
mf
mf
15
21
p
f
mp
p
f
27
mp
sf
p
mp
sf
p
34
f
f
41
mf
pp
mf
pp
10Music Teacher December 2012
Mensural Canons
In this type of canon, the imitating voice was proportionally slower or faster than the leading voice. This
might mean, for instance, that the second voice sang the canon melody at half speed. An example occurs in
J.S.Bach’s The Art of Fugue, where the second voice, as well as being half the speed of the first, is also an
upside_down version of the melody.
KS3 Canons: Canon 1 (opening) from J.S.Bach, The Art of Fugue
Here, the lower voice is half the speed of the first (a mensural canon), and is also an inversion of the upper voice(where the upper voice goes up, the lower voice goes down, and vice versa)
A mensural canon by inversion
How it works:
The lower part is half the speed of the top part - so quavers in the top part become crotchets, crotchets become minims, minims become semibreves and semiquavers become quavers
etc.
In this canon, the intervals between notes are also inverted, so upward leaps in the top part become downward leaps in the bottom part and vice versa
11 Music Teacher December 2012
Double Canons
A double canon occurs when two canons, each with its own melody, are combined with each other. An ex-
ample of this is to superimpose Three Blind Mice and Frère Jacques (this could be tried out in the classroom
if enough confident singers are available).
SuMMarY
By the end of this short scheme of work, students will have had the opportunity to perform, listen to and com-
pose canons and to be aware of some of the more obscure type of canon. Hopefully, the ‘Canon Composing
Kit’ will have enabled students to explore how canons can be put together and exposed them to aspects of
music notation in a reasonably unintimidating way.
12Music Teacher December 2012
reSourCeS
KS3 Canons: How London's Burning works
Phrase 1:
'London's burning!'
D D G
G
D D G
G
Phrase 2:
'Fetch the engines!'
A
+
A B
+
B
A
+
A B
+
B
Phrase 3: 'Fire! Fire!'
D
+
D
+
D
+
D
+
Phrase 4:
'Pour on water!'
D
+
C B
+
B
D
+
C B
+
B
All four phrases
put together
result in this:
notes: D,A,C
=
notes: G,B,D
=
notes: D,A,C
=
notes: G,B,D
=
The harmony is
based on these
chords:
notes: D,F#,A,C
Dmaj7
chord V7
Gmaj
notes: G,B,D
chord I
notes: D,A,C
Dmaj7
chord V7
Gmaj
notes: G,B,D
chord I
This round usesthese notes (fromthe scale of G major):
D
E
(not used)
(F#)
G
A
B
C
D
13 Music Teacher December 2012
KS3 Canons: Composing a canon based on two chords
The harmony is
based on these
chords:
Dmin (D,F,A)
Cmaj (C,E,G)
Dmin (D,F,A)
Cmaj (C,E,G)
Phrase 1
(lowest notes)
Phrase 2
(2nd lowest)
Phrase 3
(highest)
Phrase 4
(2nd highest)
Nor
Add words and
rhythms
Phrase 1 with a rhythm
derived from words
way
and
Swe
den,
- -
Den
Phrase 2 with words
and a new rhythm
mark
- - and
Fin
land,
- -
Li
Phrase 3 with words
and a new rhythm
thu- a- ni- a
- and Lat
vi
- a
-
Po
Phrase 4 with words
and a new rhythm
land
- - and E sto
- ni- a.
-
q = c.110
© Alan Charlton
Nor
The completed canon:
North European countries
1.
way
and
Swe
den,
- Den
2.
mark
- and
Fin
land,
-
Li
3.
thu- a- ni- a
- and Lat
vi
- a
- Po
4.
land
- and E sto
- ni- a.
-
14Music Teacher December 2012
KS3 Canon composing kit: chord and rhythm sheet
Chords:
Option 1
Dmin (D,F,A)
First chord
Cmaj (C,E,G)
Second chord
Dmin (D,F,A)
Third chord
Cmaj (C,E,G)
Fourth chord
Option 2
Fmaj (F,A,C)
Cmaj (C,E,G)
Fmaj (F,A,C)
Cmaj (C,E,G)
Option 3
Gmaj (D,G,B)
Cmaj (C,E,G)
Gmaj (D,G,B)
Cmaj (C,E,G)
Rhythms: cut along the dotted lines
15 Music Teacher December 2012
KS3 Canon composing kit: working-out sheet
Chosen chords:
Names of notes in chord(e.g. C, E, G)
First chord: Second chord: Third chord: Fourth chord:
First phrase: notes
First phrase: rhythm
Second phrase: notes
First phrase: words
Second phrase: rhythm
Third phrase: notes
Second phrase: words
Third phrase: rhythm
Fourth phrase: notes
Third phrase: words
Fourth phrase: rhythm
Fourth phrase: words
Write out your completed canon melody below, with words underneath: