The present book is an exposition, of the utmost comprehensiveness, of convertible counterpoint in the strict style. In using it as a textbook the teacher should. Has anyone read this? Understood it? I am always interested in books by notable composers, but this one is expensive and said to be fairly dry. Results 1 – 30 of 37 Convertible Counterpoint in the Strict Style (Classic Reprint) (Paperback) by Serge Ivanovitch Taneiev and a great selection of related books.
|Published (Last):||2 April 2015|
|PDF File Size:||9.68 Mb|
|ePub File Size:||5.20 Mb|
|Price:||Free* [*Free Regsitration Required]|
Convertible Counterpoint in the Strict Style (Taneyev, Sergey)
Strict imitation through- out is not needed in order to illustrate the application of complex counterpoint. This will lighten the home work, especially as regards the more difficult problems, and will not retard the learning of the simpler ones. Moreover, the dissonances of the series 1, 8, 15, etc.
Strcit variable dissonances give perfect consonances in the derivative, others imperfect. By metamorphosis is meant such a change of the original combination as would correspond to its reflection in a mirror -this is also known as “mirror counterpoint. In simple counterpoint they are applied only to suspensions; in vertical-shifting counter- point both to suspensions and to tied variable consonances. Applied to negative intervals the sign is counterpoont on the opposite side: The diatonic scale contains an augmented fourth the so-called “tritone” and a diminished fifth, both formed by the converrible and seventh degrees of the Ionic or major scale.
Sometimes an initial interval is altogether impossible for determining Jv, as for instance in fugues where the countersubject is delayed and a definite relation is established between it and the subject.
Therefore the sign also changes for the algebraic sum vv of both voices, i. A dissonance that resolves to a perfect consonance can not be prepared by a consonance of the same value as that to which it resolves: Either series may be continued as far as desired. The third sign, – forbids al- together a tie applied to the note to which it refers, nor can such note be otherwise used as passing or auxiliary. The investigations are limited to two or three voices. These intervals will be termed variable.
For example, subtracting a third from an octave leaves a sixth: They are strictly diatonic, are written in the ec- clesiastical modes, and in them are no. Likewise, where these rules prevent the appearance of Z, prepared by a fifth, a measure of their severity arises from the fact that in general such preparations are not allowed in simple counterpoint.
These rules may be regarded as being of a prohibitory nature; they are not so much formulations of what can be done in a certain situation as they are statements of what not to do.
Convertible Counterpoint in the Strict Style by Serge Ivanovitch Taneiev
At this transference to different voices of two melodies simultaneously the question must have come up as to the pos- sibility of changing their relationship at the successive recurrences, and thereby from an original combination to obtain another, the derivative. The difference between a second and a ninth consists in the fact that a second may be a dissonance only when below, while a ninth may strivt a dissonance either above or below.
It is not difficult to remember the indices contained in each column. Verification is simple, and the method is easily applied by the student who, in his approach to the study of complex counterpoint, must make free use of the resources of simple counterpoint.
Full text of “Convertible counterpoint in the strict style”
Such cases as are illustrated in Exs. A Shifting Counterpoint Dounterpoint derivative is obtained by shifting the voices. If a tie-sign applying to a given interval according to the rules of simple counterpoint is replaced by either of the signs indicating more strict conditions — hte or —no re- laxation of any rule of the strict style can ensue; the interval will only be placed under more stringent conditions as regards its use.
It is then necessary to be certain as to what the infringament is, and to make the necessary cor- rection.
But since in practice it is advisable not to cross the voices but to use only positive intervals in the original combination, the rules for the shifts applying to the latter may be formulated thus: But none of them throw the faintest light upon how it is done.
The algebraic sum vv of two voices contrapuntally united is termed the index of vertical-shifting counterpoint, and is indicated by Jv plural JJvJ standing for “index” and v for “vertical shift. To do this, previously read through mentally both voices concerned in the shift. But if the seventh appears on the weak parts of the measure a faulty succession of fifths will result in the derivative.
But the dissonances that resolve to perfect consonances 3 to 4 and 8 to 7 are subject the to following rule: Since within the octave limits there is one more consonance than there are dissonances, the consonances of a given Jv can not all coincide with dissonances, i.
Next, the upper and lower signs must be compared with each other.