Playing a Round (and a Canon and a Fugue)

The terminology describing the forms of imitative, contrapuntal music is slippery. Here are some definitions I developed for a recent presentation for recorder players.

According to Dufay

Canon = the application of a rule to a musical piece
Rondelus = the musical form which results
Fugando = the relationship of the voices

Glossary

Bicinium – A two-part composition. The were often used in German-speaking areas as a teaching tool, so they may be relatively easy to play. They are very often (but not necessarily) canons.
Canon – Usually in two voices, beginning with strict imitation then using other devices (inversion, augmentation, etc.) to continue the counterpoint. Some kind of imitation continues throughout the canon.
Catch – A comic round for male voices (England, 1600-1800). Sometimes, the voices eventually catch up with a conclusion.
Fugue – Counterpoint with each part participating equally. The development starts with a subject, then an answer. The theme (or “dux”) is developed in different keys and fragments are explored (without imitation between the parts), before returning to where it began.
Ricercare – A prelude or an imitative motet, very often in the form of a complex fugue. From Italian for “research” or “try out.”
Round – A canon with perpetual imitation, often in 3 parts.

Deceptive Terms

Canso, Canzona – A song.
Rondeau –A medieval French song with verses and refrain which don’t strictly alternate.
Rondo – A movement or aria with two tempos or keys, often in ABA form.