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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Referring to eighteen standard texts that claim to teach double counterpointI find that while all of them deal with shyle counterpoint at the octave or two octavesnone mentions double counterpoint at the fifth, only three at the sixth, two at the seventh, six at the ninth, seven at the eleventh, all except two at the tenth and the twelfth, six at the thirteenth and five at the fourteenth.
The letter v, for “vertical” plural vv refers to the vertical shift of a voice, and is placed to the right and convvertible above the roman numeral corresponding to this voice.
In complex counterpoint the same rules apply to both original and derivative combinations. The number indicating the direction and interval of the shift is united to v by the sign of equality.
Full text of “Convertible counterpoint in the strict style”
Next, the upper and lower signs must be compared with each other. I voice goes below, the lower above. Therefore the number of voices in the derivative combination is increas- ed: The stricct steps as regards shifting counter- point is the subject of the present work. Similar motion to a variable dissonance taking the letter p.
In two-voice counterpoint the foregoing rule admits of no exceptions within the limits of an octave. The most empty-sounding of all, the counyerpoint, is especially limited.
Next to be considered are the mixed cases where one dissonance is positive and the other negative. For negative JJv with the direct shifts the consonances start from an interval equal to Jv and continue to the same limit as the upper row of intervals for the same column. 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 — x or —strjct 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.
In the examples applying to Division A Appendix A are found all the complex forms of resolution— the nota cambiata etc. Such preparation of the ninth by the octave w is allowed in the free style, Ex.
Mention is still to be made as to a characteristic possessed by combinations without suspensions that belong to JJv corresponding to imperfect consonances, i. Examining the nature of the alterations in the formula of the deriv- ative and the value of the index when the original and derivative are interchanged, two cases are to be distinguished: At a Jv the voice taking the free note im only continue upward one step. Among the tables of indices with the direct shift, any two that have the same value, one positive and one negative, are closely related, and a study of their properties results in simplifying the conditions of a negative Jv as compared to those of a positive Jv, and vice versa.
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. Before stating the conditions under which the styld of a compound index are used, it is necessary to define the groups to which they belong, and thereby to determine whether or cuonterpoint similar motion is allowed.
Laroche, whose articles especially Thoughts on Musical Education in Russia have had a profound influence on the trend of my musical activities. Assuming a signature of two flats corrects this, but again a new fault ap- pears—an augmented fourth formed by the extreme notes in the last three measures: I Josquin atrict Pres Ex. This shift may be illustrated by the diagram: The Imperfect consonances have the dounterpoint freedom. 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.
At this index the variable dissonance 6 is temporarily excluded. A derivative combination will therefore be re- produced on other degrees.
Convertible Counterpoint in the Strict Style by Serge Ivanovitch Taneiev
If the latter interval also has the tie-sign it is necessary to compare separately the upper and lower signs of the two intervals, and to retain the sign that shows the greatest degree of limitation. The original intervals are arranged in three rows. In two-voice problems on a cantus firmus written in simple counterpoint with- out any calculation for shifts, places are often found where a shift in double counterpoint at the octave is possible.
In this way needless complications were avoided that would have been inevitable had it been necessary to study combinations in which positive and negative intervals were intermingled. The same mathematical processes may be applied to them as to pos- itive intervals. Bellermann, “Der Contrapunkt,” 4-te Aufl. At a negative index giving the i shift, any two convretible intervals of which the sum is equal to the absolute value of the index have the same tie-signs but in reversed positions: In a voice taking the sign — x this form of re- solution can be applied in one of three ways: These intervals will be termed variable.
This is possible only when the leap from the tied note is a de- scending third: In multi-voice counterpoint its strictness is considerably relaxed, as a result of the use of hidden progressions.