The same two-bar bass line and harmonic sequence is repeated over and over, about 30 times in total. The chords of this sequence are: D major (tonic), A major (dominant), B minor (tonic parallel or submediant — the relative minor tonic), F♯ minor (dominant parallel or mediant — the relative minor dominant), G major (subdominant), D major (tonic), G major (subdominant), and A major (dominant). This sequence (or rather, close imitations of it) appears elsewhere in the classical body of work. Handel used it for the main theme and all variations thereof throughout the second movement of his Organ Concerto No. 11 in G minor, HWV 310. Mozart employed it for a passage in Die Zauberflöte (1791), at the moment where the Three Youths first appear. He may have learned the sequence from Haydn, who had used it in the minuet of his string quartet Opus 50 No. 2, composed in 1785. Neither Handel's, nor Haydn's, nor Mozart's passage is an exact harmonic match to Pachelbel's, the latter two both deviating in the last two bars, and may in fact have arisen more prosaically from one of the more obvious harmonisations of a descending major scale. For parallels in popular music, see below.

The actual canon is played over the ground bass by the violins. In the beginning, the first violin plays the first two bars of the canon's melody. At this point, the second violin enters with the beginning of the melody, whilst the first violin continues with the next two bars of the canon. Then the third violin commences the canon, whilst the second violin plays the third and fourth bars and the first violin continues with the fifth and sixth. The three violin parts then follow one another at two bars' distance until the end of the piece. The canon becomes increasingly dense towards the middle of the piece as the note values become shorter (first in the first violin, then in the second, and finally in the third violin). Afterwards, the piece gradually returns to a less complex structure as the note values lengthen once more. There are some 28 repetitions of the ground bass in total. The canon is relatively simple and does not make use of any advanced counterpoint devices such as inversion, augmentation, diminution, etc.

It is often seen to be a set of variations over a ground bass or chord progression, like various composers' variations on La Folia (many of which also date from the Baroque period), whereas it is actually a true canon at the unison over a ground bass, as can be seen above. In this regard it is similar to the 13th century round Sumer is icumen in.

以上写了 3 violents 和1 bass 的合奏过程。资料由Kelvin 摘自Wikipedia, the free encyclopedia