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.

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In concluding the discussion of fixed consonances, some special properties of two-voice vertical-shifting counterpoint must be mentioned; cases in which, sus- pensions being absent, there appear on accented beats only fixed consonances. Brown, and the members of the editorial and production staff have solved most successfully the peculiar mechanical problems that the printing of such a complicated text involves— the first of its kind to be done in English.

Shows some signs of wear, and may have some markings on the inside.

Convertible Counterpoint in the Strict Style by Serge Ivanovitch Taneiev — Southampton Books

The result of this use of a single melody that appeared in different voices was to distribute the thematic material equally among all of them, giving to the whole a high degree of coherence. Intervals 3, 6 and their compounds 10 and 13 also give in each system consonances of one group, but the opposite group of that to which 1 and 8 belong. An excellent study in indices with the inverse shift is to write two-voice infinite canons consisting of two divisions of equal length.

Put together, these texts provide for only nine ways of writing counterpoint in which the interval-relationship could be changed; Taneiev deals exhaustively with twenty-three, not by giving endless lists of rules and exceptions but by equations in simple algebra that eliminate all trial-and-error methods and that give positive results. 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.

Take one of the intervals of the derivative, for example the octave that appears at the entry of the second voice. Strict counterpoint, developed on the basis of the so-called ecclesiastical modes, was a pre-eminently vocal style that had not been exposed to the kind of influence that instrumental music later exerted; antedating such influence, it attained to complete self- fulfilment.

The next shows those for the inverse shift: If a derivative is written at a middle Jv and one of the two voices of the derivative is separated an octave, a derivative is obtained at an outer Jv of the same shift as the middle Jv.


Sometimes met with in the same Jv, their distribution may have appeared quite fortuitous, but a strict order underlies the apparent disorder.

The indices of which the conditions are presently to be examined correspond to intervals of the successive series taken within the limits of three octaves. The Well-Tempered Clavichord, Vol.

Melodic progressions of these intervals are forbidden in the strict tsyle, and their use is limited in other ways that are doubtless familiar to the reader. But it should be remembered that this rule is rigidly applied only to two— voice counterpoint. To take double counterpoint at the countsrpoint before that at the octave is not customary, but in many ways this procedure is the more expedient.

But this number of shifts is obtained at the expense of great restraint. Complex counterpoint is divided into categories according to the methods by which countsrpoint combinations are obtained.

Bellermann, “Der Contrapunkt,” 4-te Aufl. Systems A and B are interchanged. I Josquin de Pres Ex. In this example at Convertile — To investigate the conditions under which a certain interval is used at a given Jv it is necessary to compare the limitations of this interval with those of its derivative.

In class, teaching time can be saved by working out problems at the board, questioning the students at the same time. Harmony of the strict style is not subordinated to the requirements of our modern tonal system, in which a series of chords is grouped around a central tonic chord: The new harmony, as it now stands and which Fetis called “omnitonal,” is inimical to the logic of tonality and form; the chief difference between the old and the new is that the stricy basis is replaced by the chromatic.

The essential mark of complex counterpoint is the pos- sibility of obtaining from an original combination of melodies a new one, the derivative. Formulated in this way, the rule includes both parallel and hidden progressions, but counterrpoint is relaxed as the number of voices is increased.

From the definition of the shifts it follows that at the direct shift the deriva- tive intervals take the same signs as those of the original, and at the inverse shift the opposite signs. Discarding the shifts that are only reproductions of others at the octave, there remain five different combinations. Given the sgrict and derivative Ex. In short, in a course of study in two-voice vertical-shifting counterpoint some indices may be omitted altogether or limited to only a small number of exercises.

Another complex form of resolution, one of far greater importance in counter- point than the preceding, consists in this: The harmony of the free style is no less sharply distinguished from that of the pre- ceding era. In the following list they accordingly fall into three groups, with seven indices in each group.


This enabled me to take into consideration a far greater number of relevant facts, and to bring them under control of a comparatively small number of general principles.

Convertible Counterpoint in the Strict Style by Serge Ivanovitch Taneiev

Very good condition in very good d. To separate the voices two octaves, add 14 to the absolute value of the interval; for three octaves add 21, covertible.

In the following the consonances only are taken from the successive Consonances series: Sign In Register Help Cart. In such cases m and n must be taken at the place where all mutation in the voices has ceased.

Since the additional shift is possible in either voice, every such three-voice combination may appear in two forms. Jv remains unchanged The voice that previously wasfirst now appears as second, and vice versa. At this clunterpoint all the consonances are fixed cf. A compound index is always printed in the singular: 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 counteproint resources of simple counterpoint.

In multi-voice counterpoint its strictness is considerably relaxed, as a result of the use of hidden progressions. Counterpoijt, cases are found where the notes concerned are of greater value than the nota cambiata, and even where, after the leap, there is no return at all to the absent degree.

In general, by “voice” is to be understood a melody to be sung, and this sense is meant when referring to the shifting of voices. Next, the upper convertibel lower signs must be compared with each other. These corrections consist in altering an augmented fourth to a perfect fourth by raising the lower note or lowering the upper note by a chromatic half-step. At stgle tonal answer the initial motive of neither the subject nor the counter- subject can be exactly reproduced.

Conversely, consonance —5 imp. However, this refers not so much to the case of such a variable dissonance used as a tie on an ac- cented beat as it does to a dissonance taking the letter p.