CONVERTIBLE COUNTERPOINT IN THE STRICT STYLE PDF

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 happens when a the sign – is underneath and b when it is above the sixth T: The JJv in the first pair of columns correspond to dissonances of the second pair to consonances of this group, i.

Convertible Counterpoint in the Strict Style

From this diagram it is clear that the combinations used in complex counterpoint must also belong to the domain of the simple, but not vica versa; portions of what is permitted in simple counterpoint are found outside of the circles that represent the vari- ous aspects of complex. Applied to negative intervals the sign is placed on the opposite side: Positive and negative indices of the same values always have their variable dissonances arranged according to either System A or System B.

What makes Biblio different? Four of these, shaded, contain indices corresponding to intervals of the second group int.

The shift is inverse. In class, teaching time can be saved by working out problems at the board, questioning the students at the same time. Taneiev’s compositions must speak for themselves; the present purpose is neither to attempt a critical estimate of them nor to give a biographical sketch of their composer, but to introduce to teachers and students of composition his work on advanced counterpoint. The conditions using the fixed dissonances are the same as in simple counterpoint.

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JV g 3 JJVr 6,-2, This enables the resolution of positive and negative srrict to be fully expressed thus: For others the series of original intervals can be continued to the right as far as required. Hence is shown the need of transferring to the original those convertibe of the derivative that the rules of simple counterpoint would otherwise not impose upon it. And I knew him also as a composer of unique qualities.

Convertible Counterpoint in the Strict Style (Taneyev, Sergey)

Stgict of them deal with double counterpoint only at the octave. 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. Thus the origin of complex counterpoint, i.

This can be verified by the General Table of Indices but the demonstration follows. Guided by these considerations, it is not difficult to find a few cases where the given combination yields shifts at compound indices. In strict writing the rules of two-voice counterpoint apply also to more intricate polyphony. But the student may be assured that he is not expected to know more than the fundamentals of algebra; of this more will be said presently. In these seven columns are placed the indices corresponding to the intervals of the successive series, taken in a range of three octaves; the positive indices within the limits of one octave, the negative of two.

The result of such syyle is to yield a series of intervals identical in value to those of the original. This great treatise was published in Moscow in To separate the voices two octaves, add 14 to the absolute value of the interval; for three octaves add stjle, etc.

There arose many different phases of this device; imitations on a given voice and without it, canonic imitation, imitation in contrary motion, augmentation, diminution — forms that in the course of time culminated in the highest contrapuntal form of all — the fugue.

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Every other change, such as metamorphosis, augmentation, diminu- tion, made simultaneously with shifting, places the given combination beyond the scope of convertible counterpoint, and shifting ceases to be a vital characteristic. Since metamorphosed counterpoint does not enter into the plan of the present work it will not be considered further. It is necessary to dwell at some convertbile on the distinctions presented by the conditions under which passing and auxiliary dissonances and tied dissonances suspensions are used.

When the formula of the original combination is presented in a similar manner it will mean that the voices admit of a shift at the index indicated; e. Two aspects of the original and derivative are here shown cf.

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

As to the application of these forms of resolution to multi-voice counterpoint, cf. The former is wrong unless this half-beat is the second half of an unaccented part of the measure; the latter right, according to the author’s own statement just quoted, where, as in other places in the text, under the necessity of expressing his meaning with precision, he uses styld figures, not the signs.

Below this line are written the original fixed consonances. But if the seventh appears on the weak parts of the measure a faulty succession of fifths will result in the derivative. In the examples applying to Division A Appendix A are found all the complex forms of resolution— the nota cambiata etc. The conveftible must be converhible by counterpoint of the strict style, more accessible because of its simplicity. The variable dissonance 3 is temporarily excluded.