Chapter III of Norden's book describes how to create invertible canons. This adds a layer of complexity to the other uses of invertible counterpoint that I've been working with for the past few days.
Here is the "set-up" for today's canon:
It's a canon at the sixth above that is composed in double counterpoint at the twelfth so that, when inverted, it becomes a canon at the seventh below.
The added complexity comes at the "critical juncture" of the repeat where, in this case, I needed to write a few measures that could work in both double counterpoint at the eighth and D.C, at the sixteenth. This worked out better with half notes and passing dissonances.
(click on image to enlarge)
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