[The Author has followed this observation by an example, but as it is not of an interesting kind, and exactly resembles in rule and order the preceding, we omit it.]
Canons in other intervals are more difficult of invention. In these it is usual to place the clefs of the several parts before the mark of time, in the order of their gradual succession; or to point out such order by means of figures, denoting the distance of the interval, placed above or below the note where it is intended that each part should commence[31]. See, for instance, the following four-part Canon, constructed on the lower fifth and lower octave.
[The Author gives this in score: we have reduced it to two staves to save space, and for the convenience of many who are not accustomed to music in parts. Beethoven leaves it without any termination: by means of the repeat the effect intended is produced, and thus a close is obtained. This will be found in score, with a Hallelujah, Amen, adapted to it, among the music of the present number.]
This, in the first way mentioned, would be written as a close Canon in the following manner—
By which those who understand the matter, will discover that the soprano commences; that at the second bar the alto follows in the lower fifth; at the fourth bar the tenor begins in the lower octave of the soprano; and finally that, at the fifth bar, the base comes in as lower fifth of the preceding part, or as lower octave of the alto. In the second way spoken of above, the same composition would have the following appearance—
