catch, perpetual canon designed to be sung by three or more unaccompanied male voices, especially popular in 17th- and 18th-century England. Like all rounds, catches are indefinitely repeatable pieces in which all voices begin the same melody on the same pitch but enter at different time intervals. The name may derive from the caccia, a 14th-century canonic form, or may refer to each singer’s “catching” the tune in turn. Catch texts were often humorous or ribald. In some instances a pause in the melody of one voice was filled in by the notes and text of another; this interplay of the voices created new, often bawdy, meanings.
Literary evidence shows that catch singing was a popular social activity in the 16th century, although the first published collection was Thomas Ravenscroft’s very successful Pammelia (1609). Two other publications of his also contained catches: Deuteromelia (1609), which included “Three Blind Mice,” and Melismata (1611). Perhaps the most famous of such publications was John Hilton’s Catch That Catch Can (1652).
The zenith of the catch came after the restoration of the monarchy in 1660, when the finest composers vied with one another in lavishing ingenuity and indecency on the form. Henry Purcell ranks supreme on the first account and very high on the second.
During the 18th century, catch clubs became popular (e.g., the Noblemen’s and Gentlemen’s Catch Club, founded 1761). The genre became textually more polite and musically insipid, although it remained popular. Most later editions of Restoration catches were bowdlerized, but since the 1950s occasional unexpurgated editions have appeared.