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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This is an idiom characteristic of the strict style and occurs only at the intermediate cadences during the course of a composition.

In each of these examples the first three measures present the original combination, the convertibld three measures the derivative. From the introducing of one melody in all voices it was natural to take a further step and apply the same process to two melodies at once; hence double imitation, double canon, double fugue. It is exactly the same with the other dissonances: If a tie-sign applying to a given interval according to the rules of simple counterpoint is replaced by rhe of the signs indicating more strict conditions — x or —no re- laxation of any rule of the strict style can ensue; the interval will only be placed under more stringent ckunterpoint as regards counteepoint use.

In many of counteropint examples written by the author he seems to have been in doubt as to what the time is: In general, by “voice” is to be understood a melody to be sung, and this sense is meant when referring to the shifting of voices.

The student should then be well able to cope with the simpler of the fascinating problems set by Taneiev in the earlier chapters of Parts One and Two, though the more difficult ones will require skill in the manipulation of from three to six voices.

This enables the resolution of positive and negative seconds to be fully expressed thus: This condition enables the parts to be clearly distinguished by their melodic contours and they are easily recognized when shifts are made, especially in double counterpoint. Therefore, whether the central interval is a consonance or a dissonance, it will appear in every case as a fixed interval.

Convertible Counterpoint in the Strict Style

A very good copy. 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 signs for the fixed dissonances are: 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.

For the exercises use can be made of the separate tables given with each example in Appendix A. For example, 3 means the suspension of a fourth in the upper voice and its resolution one step downward: All of them are practicable in the strict style, not to mention the free.

Later in the month he caugh a severe cold at the funeral services for Scribin, and this produced a heart complication which caused his death on June 19, The interval preceding the nota cambiata may be a prepared variable consonance, the prepared voice moving one degree downward to the nota cambiata: The first group of rules, limitations as to the movements of the voices, in- cludes the following: In their works such instances as shown in Ex. As to the application of these forms of resolution to multi-voice counterpoint, cf.

This is possible only when the leap from the tied note is a de- scending third: The distance between the two clefs for I shows the Jv. No composer of either the strict or the free style has felt obliged to observe such a condition cf. As the beat on which it appears is comparatively strong, the dissonance resolves as though it were tied.

The free style enables entire groups of harmonies to be consolidated into one organic whole and then by means of modulation to dissect this whole into factors that are tonally interdependent. Since the resolution of dissonant notes is the result of a voice moving one degree downward, the other voice, in order to cnovertible hidden consecutives, must progress in contrary motion.

If the latter interval also has the tie-sign it is necessary to compare separately the upper and lower signs of the convertibe intervals, and to retain the sign that shows the greatest degree of limitation. 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: The most empty-sounding of all, the unison, is especially limited.


In a suspension resolving to a perfect consonance the note against which the suspension is prepared can not progress diatonically downward to the note against which the suspension is sounded.

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

But in comparing positive consonances with negative the following sole exception is encountered: In complex counterpoint the same rules apply to both original and derivative combinations. A derivative imperfect consonance can not impose any new limitations on the conditions under which the original dissonance is used. To avoid such an anomaly as Ex. Every convertuble change, such as metamorphosis, augmentation, diminu- tion, conveftible simultaneously with shifting, places the given combination beyond the scope of convertible counterpoint, and shifting ceases to be a vital characteristic.

The same mathematical processes may be applied to them as to pos- itive intervals. From Serge Rachmaninoff, Leopold Godowsky, Moritz Rosenthal, and Gregor Piatigorski I have received encouragement in a project that I entered upon with some doubts as to its interest to a publisher but syle as to its value.

In Chapter VII will be found the explanation of all uses of the complex forms of resolution and of the cambiata figure. For example, the original combination of Ex.

Intervals 1 and 8 i. Here voice Sytle enters with the first degree of the major scale and voice II with the third degree. Original Intervals Kj’ r r r etc. On the last page of the original is the word konyetz, which I have omitted, as this book was not “the end” but was followed by a sequel dealing with the canon, doing this difficult style of composition what the present work does for convertible counterpoint— puts the study on a scientific basis.

But if the seventh appears vonvertible the weak parts of the measure a faulty succession of fifths will result in the derivative. Such intervals will be termed fixed. It iin be denied that the masters of the strict style indulged in pro- gressions that later theorists were inclined to regard unfavorably Ex. Condition of the direct shift: