Example 4: Definition of canon: In music, canon means "A piece in which the same melody is begun in different parts successively, so that the imitations overlap" and "from Latin canonicus 'according to rule'".
By this definition, a canon includes imitative or varied sections based on the theme.
Example 5:
Piece II: Tjetjing - Kereman
Source: "Canon." Oxford Dictionaries. April 2015. Web.
Pachelbel, Johann. Canon a 3 Violinis con Basso. Berlin, Germany: 1840. Musical Score. <http://javanese.imslp.info/files/imglnks/usimg/5/54/IMSLP346264-PMLP04611-pachelbel_canone_e_giga.pdf>
a. Variation:
Example 6: Chord Structures in Measures 5-6:
The green notes represent the bass part. In all of the chords for this section, the green notes act as the root of the chord, suggesting that the added parts are a variation on the bass line.
Example 7: Chord Structures in Measures 7-8:
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The purple notes represent the eighth notes that are already contained within the previously established chord structures of quarter notes.
The blue notes represent eighth notes that would fit within a triad of the established chord structures.
The pink notes are notes that were not already contained by the first chords, and don't fit within a triad of the chords either.
Since the majority of the eighth notes either build on the chords with new notes, or repeat notes (sometimes in a different octave), this again supports the presence of theme and variation.
b. Imitation: In measures 1 - 3, the harpsichord/bass part (basso continuo) is notated and written to repeat throughout the duration of the piece. This part is melodically varied (a melodic variation of) in the first violin (measures 3 and 4) and harmonizes with the bass. The second violin then takes up the first's variation on the bass, and so on with the third violin taking up the repetitions of the second.
Then, in measures 7 and 8, the eighth notes also signify an introduction of rhythmic variation.
Example 8:
Native Artists. Pagan, Gamelan Djogèd "Tjetjing - Kereman". Music of the Orient. Hornbostel, 1934. PDF.
An audible rhythmic variation is present in the first few measures of the piece when an original rhythm becomes more complex, and does so at different points in the piece.
Example 9: I've notated the simple rhythm that becomes audibly more complex as the piece progresses: (beginning at 0:03 in recording)
Example 10: Listen to audio comparison of the simpler rhythmic section compared to a more complex section (labeled "Example 10"). The same basic subdivisions allude to the nature of the variations. Instrumentation and technique contribute to the increased complexity of the sound, as the percussive instruments are played such that they echo each other closely, and more variation of dynamics is present.
