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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Full text of “Convertible counterpoint in the strict style”
This great treatise was published in Moscow in Therefore the avoidance of a possible augmented fourth concerns only voice II, a contingency that may be provided for in advance. Therefore, whether the central interval is a consonance or a dissonance, it will appear in every case as a fixed interval. It is not necessary to give illustrations for variable consonances, as the foregoing using dissonances will serve the same purpose.
Steict the fifth and sixth have a dissonance on one side only; all the other consonances have dissonances on both sides. 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 counherpoint.
Taneiev’s method opens up an enormous extent of untried resources, heretofore inaccessible because of the lack of an adequate approach— counerpoint only mathematics can provide it.
An index combining the conditions of two or more JJv referring to one original yhe called compound; it may be countedpoint, triple etc. In entering upon a course of exercises in two-voice simple counterpoint it is well to apply, from the start, the method of figuring intervals used in this book; this can be easily learned in two or three lessons.
In these tables a series of original intervals begins at for a positive Jv, and for a negative Jv at an interval equal to the index value. Given stye original and derivative Ex.
In both convertble one voice moves away from the other. Rimsky-Korsakow, with all his technical brilliance, felt like a student musician in the presence of Taneiev, and admitted it. Intervals having — as both upper and lower signs are omitted altogether. But the student may be assured that he is not expected to know more than the fundamentals of algebra; of this more will be said presently.
The essential mark of complex counterpoint is the pos- sibility of obtaining from an original combination of melodies a new one, the derivative. The reverse process, subtraction, causes the voices to approach, i. Serge Ivanovitch was one of the most extraordinary intellectuals of the many to which Counterpoiint has given birth.
The conditions under which Jv yields the direct, the inverse, or the mixed shift are next to be investigated. For example, at the entries of voices in stretto it is sometimes convenient to take for m and n the interval forming their initial notes.
It is from Recordare of Mozart’s Requiem, and in the ingenuity of its voice-leading is a model of noteworthy sfyle. According to the scale of their limitations in simple counterpoint of the strict style, intervals are classified as imperfect consonances, perfect consonances, and dissonances.
The present book is an exposition, of the utmost comprehensiveness, of convertible counterpoint in the strict style. These groups of intervals have other characteristics. It is necessary to dwell at some length on the distinctions concertible by the conditions under which passing and auxiliary dissonances and tied dissonances suspensions are used.
Convertible Counterpoint in the Strict Style (Taneyev, Sergey)
The attribute of fixed consonances to which ih has been called allows the following broad generalization to be made regarding the entire series of rules for ver- tical-shifting counterpoint: Correspondingly, this -exception is also allowed in vertical-shifting counterpoint.
When I conducted two performances in each city in April,it was declared by all competent judges to be the finest work Taneiev had produced.
Some variable dissonances give perfect consonances in the derivative, others imperfect. The study of convertible counterpoint should run parallel to that of simple counterpoint. The second, -x, adds a further re- striction: Superseding the ecclesiastical modes, this tonal system was in turn affected by a new one that tended to endanger key-sense by the substitution of a chromatic for a di- atonic basis; this led to a transformation of musical form.
Convertible Counterpoint in the Strict Style by Serge Ivanovitch Taneiev — Southampton Books
The star indicates where shifting counterpoint passes into simple counterpoint. To avoid such an anomaly as Ex. Next, the upper and lower signs must be compared with each other.