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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At the corresponding place in the original is a tenth 9. But 3 and 8 acquire new limitations, expressed by the sign —.

Therefore, no irregularities are encountered— 1 When the tied interval is prepared by a fixed consonance that approaches the free note by a leap, as is seen in the following preparations of variable intervals: Exercises at these indices may be played on the piano, though not without some inconvenience, due to the unusual fingering.

Table of Fixed Consonances atrict 4 2 4 9 In the preceding chapters the various applications of the supplementary sign x were explained, but this information was necessarily scattered among different sections of the text. In such cases m and n must be taken at the place where all mutation in the voices has ceased.

Likewise, where these rules prevent the appearance of Z, prepared by a fifth, a measure of their severity arises from the fact that in general such preparations are not allowed in simple counterpoint. In any statement for the rules of a given index there is no need of enumerating those dissonances of which the signs remain the same as in simple counterpoint.

Generally speaking, in multi-voice counterpoint the fourth retains its dissonant character only in relation to the bass, in which case it is subject to the conditions of preparation and resolution and is governed by the rules of two-voice counterpoint.

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An excellent study in indices with the inverse shift is to write two-voice infinite canons consisting of two divisions of equal length.

Convertible Counterpoint in the Strict Style (Taneyev, Sergey)

J J- 47 etc. Therefore each interval is represented by a figure that is 1 less than its usual num- erical designation: Sign up to receive offers and updates: All such voice-leadings are included in the idea of “resolution” but not all of these resolutions are valid. This silencing of voices is illustrated in Exs.

Except for this, imperfect consonances are under no restrictions. Ordinarily the combination that occurs first in a composition is regarded as the original, but it is possible to treat counteepoint later combination as the original and counterpoing earlier one as the derivative.

We had long, interesting talks, and he amazed me counterpoont the boldness of his ideas; often in the field of musical interpretation he was daring to the point of radicalism.

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

Aside from such cadences the strict style does not present a ser- ies of harmonies that are unified in this sense; key-continuity may be entirely absent, and any chord may follow any other, on a strictly diatonic basis. This new method, used in the present work, consists in countegpoint the interval between two adjacent scale-degrees, i.

Whatever limitations are imposed in excess of the required index do not prevent a shift at this index. The sum of two or more positive numbers is only a special case.

Convertible Counterpoint in the Strict Style

The index Jv may be of positive value, of negative value, or may equal zero. 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.

Palestrina xsz – o etc. The strivt may be a dissonance, and may resolve to a note appearing strixt the good other voice, i. This same quantity is also equal to the sum of every two intervals that lie at the same distance on either side of the center, i.

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For example, 3 means the suspension of a fourth in the upper voice and its resolution one step downward: Therefore the following preparations for these intervals are forbidden: In both cases one voice moves away from the other. In the third measure of the original the voices cross, resulting in the intervals —2 and —1. The quotations from sixteenth-century composers have the resolutions on the beat, except in Exs. In simple counterpoint they are applied only to suspensions; in vertical-shifting counter- point both to suspensions and to tied variable consonances.

Full text of “Convertible counterpoint in the strict style”

A preponderance of imperfect consonances in the original results in the derivative sounding empty, but inasmuch as supplementary voices are always available this re- quirement may be discounted somewhat.

In the preceding table the indices took the direct shift. If, with different signs, the highest degree in the scale of limitations is shown by the sign of the derivative dissonance, then the sign of the latter must be transferred to the original.

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 Jv is positive and has the direct shift, the derivative tenth 9 is also positive. For example, the note of struct should not be shorter than the note to which it is tied. Transposing this combination so that it agrees with the key of the original stgict