Imagine composing an ornate melody, then stretching it out so it moves twice as slow, and somehow when you layer the stretched version onto the original, they match up beautifully: One shape, two different speeds. This is what Bach has done in this canon (but he also made sure that the consequence of both lines also blends into the harmonic implications of the chorale melody, which must also past through both lines…)

Let’s see what our augmented canon looks like on the page. Here is the opening of the ‘quick’ line:

And now see the same shape, moving in augmentation:

Those images are from the print, which as I mentioned is in open-score, and particularly difficult to read. The left hand is on the 2nd and 4th lines, the pedal sandwiched between them on line 3, and, did I mentioned? Four different clefs. Have a look:

We’ve seen this type of composition before on the podcast. Here is the episode from Season One about the augmentation canon (as well as in inversion) from the Art of Fugue:

Stay tuned for the final variation!

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