CONVERTIBLE COUNTERPOINT IN THE STRICT STYLE PDF

  • July 22, 2019

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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Discarding the shifts that are only reproductions of others at the octave, there remain five different combinations. An interval having either sign above and below appears twice, both in the upper and lower rows.

In uniting indices into one compound index, the rule must be invariably fol- lowed that the fewest limitations are converhible by the most. In the following the consonances only are taken from the successive Consonances series: As counterpoint is presented by Serge Ivanovitch the reader finds himself, like the author, strkct of it not so much the analysis of a process as a habit of thought, a second thought, a second nature, which leads on to the creation of beauty- flawless in its form and proportions.

In parallel motion these consonances, rather than others, are the most euphonious. The free note to a tied interval may, at the moment the latter is resolved, progress to another note which forms a fixed consonance with the note of resolution.

The mutual relations of the as- pects of complex counterpoint and their relations to simple may be illustrated symboli- cally by the accompanying diagram, where the large circle represents the domain of simple counterpoint, and the small intersecting circles, with the portions of their areas coinciding, the various aspects of complex counterpoint.

Problems at easy indices having a comparatively large number of fixed con- sonances can be written on a cantus firmus. Whatever limitations are imposed in excess of the required index do not prevent a shift at this index. Exer- cises in complex counterpoint should run parallel with those in simple, and application should be made to the contrapuntal forms using imitation, such as the invention, figured choral, and fugue.

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The expression jjjneans that a sixth can not be taken as a tie on an accented beat on voice I, but that it may be taken as a tie in voice II on condition that the note corresponding to the note of resolution is either passing or auxiliary.

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

I have dedicated this book to the memory of H. This work is divided into two parts; the first deals counterppoint vertical-shifting counter- point and with counterpoint admitting of duplications; the second with horizontal-shift- ing and double-shifting counterpoint.

Longhouse, Converyible and Booksellers. The sum of these quantities is The foundation must be laid by counterpoint of the strict style, more accessible because of its simplicity. In the second species fifths and octaves are forbidden on the accented beats of adjacent measures: Hence has arisen the rule in two-voice counterpoint that recommends the avoidance of countsrpoint succession of parallel thirds or sixths that is too pro- longed.

Now as to algebra: An inventory of what is still untried in counterpoint would, by the application of Taneiev’s methods, run almost into astro- nomical figures. To prepare a table of rules for a given Jv a comparison must countrepoint made of the series of positive intervals in the original combination with the intervals on its deriv- ative.

Full text of “Convertible counterpoint in the strict style”

Tschaikowsky, fifteen years his senior, would submit to criticism from this pupil of his which he would tolerate from no one else. Each part consists of two divisions, one devoted to two-voice counterpoint, the other to three-voice. Taking from the General Table of Indices the convertihle series of intervals pertaining to the combined index, next compare each interval having countwrpoint tie-sign with the same interval of the other Jv.

Consequently if one sign of the central interval in the original series, according to the rules of simple counterpoint, is —its derivative interval has the same sign on the opposite side, the final result being that the original interval will take this sign on both sides: While in multi-voice counterpoint the fourth may be released from the limitations of a dissonance, thereby is imposed a new limitation on the ninth resolving to the octave; it should not form a dissonance with an inner voice— only with the bass.

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In this case it does not lose its consonant character, even when the other voices form dissonant harmony, for example: However, the composers of the era of the strict style did not consider it impractical, in the fourth species, to write fifths also on the unaccented beats: To take double counterpoint at the twelfth before that at the octave is not customary, but in many ways this procedure is the more expedient.

In order for the original combination to yield two derivatives, each having its own Jv, the conditions of both JJv must be united. The abundance of conditions that surround the the- indices mentioned involves the disadvantage that the student is often uncritical of the melodic quality of his ocnvertible, provided that it is done according to rule.

Convertible Counterpoint in the Strict Style

Profusely illustrated with sheet music and deep informative text. In vertical-shifting counterpoint corresponding rules must be estab- lished that refer to all tied intervals.

It will stylee useful to pay special attention to such cases, and study the conditions under which such a shift may or may not be made.

To get the derivative without putting it in the key specified involves these irregularities: Therefore when the two voices shift simultaneously it convertile be found more convenient to add their alge- braic values all at once, not to add each item in turn to the given interval. Every place in the derivative where a rule of simple counterpoint is broken means that in the same place a rule of complex counterpoint is also broken.

The supplementary sign is not needed when the resolution of a variable consonance ,s to a fifth or a sixth.