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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The number of variable dissonances changes according to the JJv concerned. Thus the fifth and sixth have a dissonance on one side only; all the other consonances have dissonances on both sides.

Positive and negative intervals are divided into two groups; 1 intervals that appear in three forms: Proceeding to negative indices: A table for any index having the inverse shift consists of a series of original intervals beginning with and ending with an interval equal to Countwrpoint.

Hence has arisen the rule in two-voice counterpoint that recommends the avoidance of a succession of parallel thirds or sixths that is too pro- longed. Such cases as are illustrated in Exs. With these exceptions the following list applies to both positive and negative intervals: To take double counterpoint at the twelfth before that at the octave is not customary, but in many ways this procedure is the more expedient.

The desired interval is therefore a third, and the voices in the given interval are separ- ated by four octaves in addition to the third. According to the foregoing, a central interval is an original interval equal to one-half of an even-number index for the inverse shift.

The first of these, forbidding the free use of an interval on an accented beat, admits of its use as a tie in the voice to which the sign refers.

By alternating the difficult and easy indices the former will be mastered by imperceptible degrees, stroct instead of reacting unfavorably on the tech- nique of the student will contribute to its development.

The algebraic sum vv of two voices contrapuntally united is termed the index of vertical-shifting counterpoint, and is indicated by Jv plural JJvJ standing for “index” and v for “vertical shift. To investigate the conditions under which a certain interval is used at a given Jv it is necessary to compare the limitations of this interval with those of its derivative.

The differences between the contrapuntal writing of these two eras are to be found both in the nature of the melodies themselves and in the char- acter of the harmonies formed by these melodies in combination.

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In this example at Jv- — The attribute of J Jv under discussion is the result of a more general principle which may be formulated thus: For example, the note of preparation should not be shorter than the note to which it is tied.

Convertiblle rule eliminates such situations as these: Addition is also possible both up and down at the same time; here the result is the sum of three terms: Ztrict I -6 3 The second and its compounds are separated from the other dissonances by a 2 int.

Convertible Counterpoint in the Strict Style (Taneyev, Sergey)

Sometimes met with in the same Jv, their distribution may have appeared quite fortuitous, but a strict order underlies the apparent disorder. In Chapter VII will be found the counterpoiny of all uses of the complex forms of resolution and of the cambiata figure.

But the reverse is not always true; to contract hhe voices by an octave, even though they are not less than an octave apart, may eliminate a ninth if it is a dis- sonance above. But this number of shifts is obtained at the expense of great restraint. An interval having either sign above and below appears twice, both in the upper and lower rows.

At this index all the consonances are fixed cf. According to the conveftible of limitations their order is: The calculation of the distance between positive consonances only or negative only proceeds as follows: Applying the principle that by the use of chromatic progression any chord may follow any other, and pushing it too far, is likely to compromise key-relationship and to exclude those factors by which the smaller units of form are grouped and amalgamated into one organic whole.

But none of them throw the faintest light upon how it is done.

Convertible Counterpoint in the Strict Style by Serge Ivanovitch Taneiev

Within the octave limits are four consonances 0, 2, 4, 5 and three dissonances 1, 3, 6. Intervals of the first group are indicated l int.

The new counterpoint was not based on the ecclesiastical modes but upon the present major-minor tonal system. A derivative combination will therefore be re- produced on other degrees. It is from Recordare of Mozart’s Requiem, and in the ingenuity of its voice-leading is a model of noteworthy perfection. Exercises at these convertibld may be played on the piano, though not without some inconvenience, due to the unusual fingering.

But no matter how many variable counteroint a given index may have— if they are not less convetrible two— they may always be arranged according to one of the two systems. Mention is still to be made as to a characteristic possessed by combinations without suspensions that belong to JJv corresponding to imperfect consonances, i.

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

The following values for tied notes are unconditionally allowed: Counteropint, cases are found where the notes concerned are of greater value than the nota cambiata, and even where, after the leap, there is no return at all to the absent degree.

In each pair of columns the sum of the lowest indices equals 7, and each lowest index is of the same value as the middle index in the other column of the same pair, but with the opposite sign; the lowest Jv sty,e positive, the middle Jv negative.

In the strit style the relative duration of tied notes must be considered. Positive stylle negative indices of the same values always have their variable dissonances arranged according to either System A or System B.

Examples may be formed from the foregoing illustrations, exchanging orig- inal and derivative. But since in practice it is advisable not to cross the voices but to use only positive intervals in the original combination, the rules for the shifts applying to the latter may be formulated thus: Before citing examples showing the application of variable intervals, some tables will be given that will result in important simplifications.

Full text of “Convertible counterpoint in the strict style”

The following examples from Zarlino’s Istitutioni harmoniche show the application of it to 1, 6 and 3. With these exceptions the statements in the preceding section relative to the dis- tances between consonances of the same group and those of different groups apply also to all cases where one interval is positive and the other negative.

Therefore, when a variable dissonance coincides with a consonance that has a dissonance on each side, the progression in the derivative, corresponding to the note of resolution, will be to one of these two dissonances i.

Ackley Brower, and with an introduction by Illustrated throughout with musical notations. Each voice in the derivative combination is indicated by the same figure that it had in the original.