By Christopher M. Wicks.
Canon for String Orchestra can be perceived either as a canon, or as a sort of fugal exposition beginning with the top voice (the first violins) and then continuing down to the cellos, with strict use of countersubjects. The doublebasses, however, do not take part in the counterpoint; rather they provide pedal tones that underpin the harmonies. The piece is in the mode of D Dorian and makes use of pandiatonicism in the upper parts.
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