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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The sum of these limitations constitutes the conditions under which an original interval may be used at a given Jv. In writing exercises, study the examples according to whatever index is being worked at the time. On this fact is based a division of indices into two groups that has great importance for the whole study of vertical-shifting counter- point. The harmony of the free style is no less sharply distinguished from that of the pre- ceding era.

The sum of these quantities is Furthermore, none of these texts deals with triple counterpoint at any interval other than the octave, and one of them Jadassohn definitely states that such a thing is impossible. Its use in the capacity of a suspension would therefore be impossible in those cases where a dissonance in the derivative would result that has the same sign underneath. But if the seventh appears on the weak parts of the measure a faulty succession of fifths will result in the derivative.

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 diatonic basis is replaced by the chromatic.

Both tied notes may be of equal value; the second may be half the value of the first but not one-quarter of the value. For others the series of original intervals can be continued to the right as far as required.

Convertible Counterpoint in the Strict Style (Taneyev, Sergey)

Longhouse, Publishers and Booksellers. As to the order in which the exercises should be written, instructions are given in Chapter VIII, but before starting this work the present chapter must be thoroughly mastered. Amid a mass of indifferent writings and others of considerable value but not outstanding there are a few that have made history; one of the greatest was the Dodechachordon of Glearanus, another was the Gradus ad Parnassum of Josph Fux.


In the following two series of original intervals one for an even-numbered index, one for an odd every two intervals of which the sum is equal to the absolute value of the index stricy connected by bracketed lines.

This shift may be illustrated by the diagram: Beginning comvertible the second note the voice proceeds without further change.

Yet this is quite in accordance with present-day tendencies, and the fact that Taneiev thought about it as far back as shows that he is a pioneer in a field of research that now includes several prominent names in the musical world. The present subject is the shifting of the contrapuntal union of mel- odies. The following table, which should be thoroughly memorized”, contains the signs indicating all the conditions under which suspensions are used in simple counterpoint of the strict style.

In multi-voice textures such progressions are often found, but in two-voice counterpoint they are best avoided altogether. The preliminary steps covertible regards shifting counter- point is the subject of the present work.

Nevertheless these considerations are not sufficient to justify the complete removal of crossings from the original combination, as is insisted upon by some theorists. Problems at easy indices countfrpoint a comparatively large number of fixed con- sonances can be written on a cantus firmus. The outstanding merit of the Flemish composers was that they in- vented these forms and from them developed a flexible and efficient system of tech- nical procedure.

In using it as a textbook the teacher should select, from amid the detailed development of the cnvertible, what is most necessary for the student. If they are alike, or if the sign of the original dissonance indicates a higher degree in the scale of limitations than that of the derivative, then the sign of the original stands without change.

Convertible Counterpoint in the Strict Style by Serge Ivanovitch Taneiev

Serge Koussevitzky, ztyle activities in the musical life of America dtyle too well known to need further comment, contributed an Introduction. Having obtained the two degrees in this way, they must conform to all the limitations of the augmented fourth or diminished fifth. It is not necessary to give illustrations for variable consonances, as the foregoing using dissonances will serve the same purpose.


The foundation must be laid by counterpoint of the strict style, more accessible because of its simplicity.

Full text of “Convertible counterpoint in the strict style”

But such an interdiction is not in accordance with the practice of composers of the era of the strict style. Occurring as a quarter-note, it may be treated as an auxiliary: Profusely illustrated with sheet music and deep informative text. But, as already stated, for practical purposes three indices in each column are enough. At a Jv the voice taking the free note can only continue upward one step. For example, the note of preparation should not be shorter than the note to which it is tied.

The index Jv may be of positive value, of negative value, or may equal zero.

If the number of voices is not less than four it is exceptionally allowed as a dissonance to the tenor. Except for this, imperfect consonances are under no restrictions. It would therefore be possible to restrict the list of fixed consonances to the octave limits, but for greater convenience in using the table the fixed consonances beyond the octave are also given.

Intervals 1 and 8 i. Since metamorphosed counterpoint does not enter into the plan of the present work it will not be considered further.

In two-voice counterpoint intended to form part of multi-voice, such cases may be left to broader considerations, and the application to 3 and 8 allowed. When a derivative consonance is perfect it will be indicated by a small p.