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<div style="color: rgb(0, 0, 0); font-size: 14px; font-family: Calibri, sans-serif; ">
Bob Gauldin has a very good take on canon construction at short time intervals in his T&P article. John Milsom calls such canons "stretto fugas" and I have discussed and illustrated them in various places. Following the rules for first-species stretto fuga
(they can be found in my Renaissance book, pp. 156-159) will produce a melody that can be embellished and that might sound convincing when sounded alone, but you have to compose the stretto first. Here are some sources on stretto fuga:</div>
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<font class="Apple-style-span" face="Calibri" size="3">Butler, Gregory G. “The Fantasia as Musical Image,”
<i>Musical Quarterly</i> 60/4 (1974): 602-615.<o:p></o:p></font></p>
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<font class="Apple-style-span" face="Calibri" size="3"><span lang="EN-CA">Cumming, Julie. “</span>Composing Imitative Counterpoint around a
<i>cantus firmus</i>: Two Motets by Heinrich Isaac.” <i style="mso-bidi-font-style:normal">
<span lang="EN-CA">Journal of Musicology</span></i><span lang="EN-CA">, 28 (2011): 231–288.
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<font class="Apple-style-span" face="Calibri" size="3">Froebe, Folker. "Satzmodelle des Contrapunto alla mente und ihre Bedeutung für den Stilwandel um 1600'.
<i style="mso-bidi-font-style:
normal">Zeitschrift der Gesellschaft für Musiktheorie</i>, 4 (2007): 13-55.
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<font class="Apple-style-span" face="Calibri" size="3">Gauldin, Robert. <span lang="EN-AU">
“The Composition of Late Renaissance Stretto Canons,”</span><span lang="EN-AU"> </span>
<i>Theory and Practice</i> 21 (1996): 29-54.<o:p></o:p></font></p>
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<font class="Apple-style-span" face="Calibri" size="3">Grimshaw, Julian. “Morley’s rule for first-species canon.”
<i style="mso-bidi-font-style:normal">Early Music</i> 34/4 (2006): 661-666.<o:p></o:p></font></p>
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<font class="Apple-style-span" face="Calibri" size="3">Milsom, John. <span lang="EN-AU">
“‘Imitatio,’ ‘intertextuality’, and early music,” in <i>Citation and authority in Medieval and Renaissance musical culture: Learning from the learned,
</i>ed. Suzannah Clark and Elizabeth Eva Leach (Boydell & Brewer Woodbridge, 2005): 141-51.
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<font class="Apple-style-span" face="Calibri" size="3"><span lang="EN-AU">Milsom, John. “Josquin and the Combinative Impulse’ in
<i>The Motet around 1500</i>, ed. </span><span lang="ES-TRAD">Thomas Schmidt-Beste (Brepols: Turnhout, 2012): 187-222.<o:p></o:p></span></font></p>
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<font class="Apple-style-span" face="Calibri" size="3"><span style="color: windowtext; font-weight: normal; ">Porter, William. “Reconstructing 17th-century North German improvisational practice,</span><span lang="EN-AU" style="color: windowtext; font-weight: normal; ">”</span><span lang="EN-AU" style="color: windowtext; font-weight: normal; ">
</span><i><span style="color: windowtext; font-weight: normal; ">GOArt Research Reports</span></i><span style="color: windowtext; font-weight: normal; "> 2 (2000): 25-39.</span></font></h1>
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<font class="Apple-style-span" face="Calibri" size="3">Schubert, Peter. “Counterpoint pedagogy in the Renaissance,” in
<i>The Cambridge history of Western music theory</i>, ed. Thomas Christensen (Cambridge: Cambridge University Press, 2002): 503-533.<o:p></o:p></font></p>
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<font class="Apple-style-span" face="Calibri" size="3">Schubert, Peter.<i> Modal Counterpoint, Renaissance Style</i>, 2nd ed. (New York: Oxford University Press, 2008).<o:p></o:p></font></p>
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<font class="Apple-style-span" face="Calibri" size="3">Schubert, Peter. “From Voice to Keyboard: Improvised Techniques in the Renaissance.” in
<i style="mso-bidi-font-style:normal">Philomusica on-line</i> [http://philomusica.unipv.it] 11/1(2012): 11-22.<o:p></o:p></font></p>
<p class="MsoNormal" style="color: rgb(0, 0, 0); margin-bottom: 6pt; "><font class="Apple-style-span" face="Calibri" size="3"><span class="Apple-tab-span" style="white-space: pre; "></span>Schubert, Peter. “Improvising a Renaissance Canon.” http://www.youtube.com/watch?v=n01J393WpKk</font></p>
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Peter Schubert</div>
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