Mirror canon

The realisation from the 'closed' (unrealised) form can be effected by placing the page in front of a mirror, thus upside down, and beginning with the already progressing first voice.

[2] A spectacular example of contrapuntal ingenuity can be found in the double canon that forms the trio section of Mozart's Serenade for Wind Octet in C, K. 388.

21 (1927–1928) "consists of three elaborately worked out double canons that pit two prime forms against two inversions".

The texture of the first movement unfolds through constantly changing orchestration (see Klangfarbenmelodie), that leads Taruskin to conclude that "Webern was not interested in having his canons perceived by the listener as coherent lines.

Instead they are absorbed into a kaleidoscopically fragmented texture that has often been compared to a painterly technique known as pointillism.”[4][5] This article about a music genre is a stub.