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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It was my privilege to introduce this masterpiece to the public in two different ways. Next to be considered are the mixed cases where one dissonance dounterpoint positive and the other negative.
The diatonic scale contains an augmented fourth the so-called “tritone” and a diminished fifth, both formed by the fourth and seventh degrees of the Ionic or major dtrict. And I knew him also as a composer of unique qualities. For example, it is bad to double the free note to a ninth resolving to an octave: Complex counterpoint is divided into categories according to the methods by which derivative combinations are obtained.
Convertible Counterpoint in the Strict Style by Serge Ivanovitch Taneiev
For the analysis of these changes the best method is that of mathematics, by which the quantitative differences in the sizes of intervals are expressed in figures; mathematical operations are derived therefrom. Formulated in this way, the rule includes both parallel and hidden progressions, but it is relaxed as the number of voices is increased.
The next degree of limitations refers to perfect consonances; the rules gov- erning them fall into three groups: It is not difficult to remember the indices contained in each column. Another feature of complex counterpoint remains to be mentioned: A number of variable consonances from other JJv are found between these extremes. A second 1 has the sign — above. Certain shifts are possible with suspensions, but not all; some dissonances may render them impracticable, a matter that will be discussed in detail in Chapter IX.
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.
I have dedicated this book to the memory ghe H. Serge Koussevitzky, whose activities in the musical life of America were too well known to need further comment, contributed an Introduction.
Unity of construction appears with srtict and less frequency. To indicate the dissonant note corresponding to the note of resolution— there- fore either a passing or an auxiliary-note— the supplementary sign x will be used, its addition to a tie-sign meaning a tied note and its progression one degree downward.
Bellermann, “Der Contrapunkt,” 4-te Aufl. Harmony of the strict style is not subordinated to the requirements of our modern tonal system, in which a series of chords is grouped around a central tonic chord: In the preceding examples the original combinations were worked out with two specific voices and the derivatives with two others.
Under the original intervals are placed their derivatives and under these a horizontal ciunterpoint. When it is necessary to refer the characteristics of a given Jv to either of these groups, use will be made of the indications Jv and Jv.
Convertible Counterpoint in the Strict Style (Taneyev, Sergey)
Beginning with the second note the voice proceeds without further change. Though applying, according to the title, only to the strict style of the Polyphonic Period, its principles, as the author himself says, may be extended to the free style of later times and to the modernism of today and of the future. For in- stance, in 2 time a passing note but not an auxiliary note may occur on the third quar- ter, which is unaccented: 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 none as to its value.
Since the ninth is a 2 int. It is possible to regard every recurrence of a two-voice combination on the same degrees or its removal to other degrees as a shift at Jv- 0. Positive and negative intervals are divided into two groups; 1 intervals that appear in three forms: The index Jv may be of positive value, of negative value, or may equal zero.
But in comparing positive consonances with negative the following sole exception is encountered: But they should not be attempted until considerable skill has been acquired in writing mixed counterpoint at all indices. The student who has assimilated these rules can now undertake exercises with indices of both the first and second groups.
Therefore each interval is represented by a figure that is 1 less than its usual num- erical designation: At the corresponding place in the original is a tenth 9. But the dissonances that resolve to perfect consonances 3 to 4 and 8 to 7 are subject the to following rule: 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.
The subject of the study of vertical-shifting counterpoint consists of an invest- igation of those combinations from which derivatives are obtained by means of shifting the voices upward or downward. 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 dissonances in the two upper rows are provided with their appropriate signs, according to the rules of simple counterpoint. It is necessary to dwell at some length on the distinctions presented by the conditions under which passing and auxiliary dissonances and tied dissonances suspensions are used.
In this way the combination referred to yields shifts at a compound index that unites the conditions of eight JJv, namely: If a combination is written without suspensions, with consonances on the accented beats, that meets all the requirements of JJv non-use of similar motion etc.
In analysing the examples it may be useful to play them on the piano, duplicating first one voice and then the other.
Convertible Counterpoint in the Strict Style by Serge Ivanovitch Taneiev — Southampton Books
The sum of these limitations constitutes the conditions under which an original interval may be used at a given Jv. Beethoven, who in his later works reverted to the technical methods of the old th, sets the best example for composers of the future. Other voices may be free to take notes consonant with each of the other notes forming the dissonance: Classifying the JJv in this way into two groups, arranging them in columns showing the octave relationship, and then combining the columns in pairs that bring the indices in logical order— all this facilitates their ln and recall.
First to be considered are the forms involving the free note to a tied interval; these are used the most, especially in multi-voice counterpoint. Following the leap the voice usually progresses one degree upward to a note of the same value, as shown in the preceding illustrations. Their number varies with the different indices. Intervals 3, 6 and their compounds 10 and 13 also give in each system consonances comvertible one group, but the converrible group of that to which 1 and 8 belong.
At this index all the consonances are fixed cf.