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 indices of the sixth column and also these: The dissonances in such problems appear only as passing or as auxiliary notes. I have never seen Serge Ivanovitch as happy as at these performances of his cantata.
But the student may be assured that he is not expected to know more than the fundamentals of algebra; of this convretible will be said presently.
Convertible Counterpoint in the Strict Style by Serge Ivanovitch Taneiev — Southampton Books
HE 1 lx s 3E -e- -e- Progressions such as the following are characteristic of the strict style: These columns, except the first, are numbered; each reference number corresponds to the figure of its lowest J v. But the substitution of a sign by one of lesser force in entirely inadmissable, for no interval may be released from the limitations imposed upon it th the rules of simple counterpoint.
Search the history of over billion web pages on the Internet. I, Fugue 11, and Vol.
Convertible Counterpoint in the Strict Style
Table of Fixed Consonances conveetible 4 2 4 9 If a consonance taking the sign -x is imperfect a dissonance is formed, to which the sign refers, at the moment of resolution; which in turn functions as a tied interval. In the second species fifths and octaves are forbidden on the accented beats of adjacent measures: When a voice remains unshifted neither the letter v nor v-Q need be associated with its Roman numeral.
The suspensions 1 and 6 that resolve to imperfect consonances are not sub- ject to any limitations as regards their preparation; they may be prepared by any con- sonance, provided that no rule governing the melodic conduct of the voices is dounterpoint. Bellermann, “Der Contrapunkt,” 4-te Aufl.
At the corresponding place in the original is a tenth 9. 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.
From the very first exercises the student is trained to the strict and unaccustomed re- quirement that similar motion must be absent, and passing on to JJv, where this motion is allowed, his work is facilitated and his technical resources increased. In vertical-shifting counterpoint corresponding rules must be estab- lished that refer to all tied intervals. The lowest Jv of each column corresponds to a positive interval within the limits of an octave; the middle Jv to a negative interval, also within an octave, and the upper Jv to a negative interval beyond the octave limit.
The most empty-sounding of all, the unison, is especially limited. This will lighten the home work, especially as regards the more difficult problems, and will not retard the learning of the simpler ones.
Convertible Counterpoint in the Strict Style (Taneyev, Sergey)
Suppose that this question arises concerning the second. They are also the most satisfactory in effect, but because of this a certain monotony will result from their ex- cessive use in parallel motion.
At each Jv from the second pair of columns a derivative may be obtained that will be the execution of the original plus an additional shift of one of the voices. There are two more, referring to the preparation of variable in- tervals; they are: A dtrict dissonance represents delayed movement. Such a series is divisible into two equal parts. It is difficult to discuss this book in couterpoint of restraint. Dividing this by 7 gives 4 as a quotient, with 2 as a remainder.
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It is of practical importance both in connection with counterpoint ad- mitting of duplication and with certain cases of multi-voice vertical-shifting counter- point, for instance in triple and quadruple counterpoint, especially at the octave. Note at end of chapter. Such intervals will be termed fixed. Again, the changes possible in the time-entrances of two or more melodies, called in this book the horizontal shift, are ignored in all texts except Taneiev’s, though some authors call attention to this interesting phenomenon in occasional quotations from Bach.
Introduction by Serge Koussevitzky. The initial intervals are: In compiling tables for indices with the direct shift it is impracticable to present any table complete— a portion from the beginning is enough.
Full text of “Convertible counterpoint in the strict style”
The result will be three-voice counterpoint in which two voices represent the duplication of one of the original voices in parallel imperfect consonances. With the exception of the first interval and the last the unison on accented beats is to countepoint avoided, and it should not progress by similar motion to any interval following. As counterpoint is presented by Serge Ivanovitch the reader finds himself, like the author, making 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.
The next degree of limitations refers to perfect consonances; the rules gov- erning them fall into three groups: Here voice I enters with the first degree of the major scale and voice II with the third degree. I am indebted to several whose interest, advice, and information are in cohvertible small measure responsible for the appearance in English of the monumental work of Taneiev.
Ordinarily the combination that occurs first in a composition is regarded as the original, but it is possible to treat a later combination as the original and an earlier one as the derivative.