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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In i, the number of derivative combinations that it is possible to obtain from an original is in inverse proportion to ij musical resources employed in its composition. The significance of the rules of complex counter- point is that if they are ignored in the original combination the derivative will show pro- gressions that violate the rules of simple counterpoint.

To prepare a table of rules for a given Jv a comparison must be made of the series of positive intervals in the original combination with the intervals on its deriv- ative.

It is negative if the situation is the reverse; U -4 II w etc. In multi-voice music melodic and harmonic elements are subject to the influences of the time and to the nationality and individuality of composers.

The persistent use of some of these indices is bad in the long run, as they tend to militate against the esthetic cobvertible of the work. The following classification ex- hausts all possible shifts: At this transference to different voices of two melodies simultaneously the question must have come up as to the pos- sibility of changing their relationship at the successive recurrences, and thereby from an original combination to obtain another, the derivative.

Convertible Counterpoint in the Strict Style

The study of convertible counterpoint should run parallel to that of simple counterpoint. There are two more, referring to the preparation of variable in- tervals; they are: In general, every combination written at a middle Jv yields a valid derivative at each outer Jv of the same column and with the shift indicated.

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. Thus the fifth and sixth have a dissonance on one side only; all the other consonances have dissonances on both sides.

This shift may be illustrated by the diagram: Put together, these texts provide for only nine ways of writing counterpoint in which the interval-relationship could be changed; Taneiev deals exhaustively with twenty-three, not by giving endless lists of rules and exceptions but by equations in simple algebra that eliminate all trial-and-error methods and that give positive results.


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

In a combination written at conditions that are more rigid than those of the given index the possibility of yielding a shift at this index is not relinquished. In the second species fifths and octaves are forbidden on the accented beats of adjacent measures: The abundance of conditions that surround the the- indices mentioned involves the disadvantage that the student is often uncritical of the melodic quality of his work, provided that it is done according to rule.

The enlightment on musical structure, the mental stimulus, in Taneiev’s book are of far-reaching service. But those of the second group JJvpresenting the second, preclude the use of similar motion.

In Fux’s classic work Gradus ad Parnassum this form of ornamental treatment is frequently illustrated. The letter v, for “vertical” plural vv refers to the vertical shift of a voice, and is placed to the right and slightly above the roman numeral corresponding to this voice. Each of the four cases will be examined in turn, beginning with the fixed consonances.

The choice depends on the melodic or harmonic conditions that stroct or follow. It is not difficult to explain the reason for arranging the variable dissonances in this way.

Full text of “Convertible counterpoint in the strict style”

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. Next, the upper and lower signs must be compared with each other.

Proceeding to negative indices: If a derivative is written at a middle Jv and one of the two voices of the derivative is separated an octave, a derivative is obtained at an outer Jv of the same shift as the middle Couterpoint. The fhe counterpoint was not based on the ecclesiastical modes but upon the present major-minor tonal system.

To do this, the two degrees forming the objectionable interval in the original are transferred, for the voice that shifts, at an interval equal to v of this voice, taken with the opposite sign, i. This great treatise was published in Moscow in As regards the difficulty of these ni, especially of those having only one fixed consonance, i.

It will be useful to pay special attention to such cases, and study the conditions under which such a shift may or may not be made. The fixed Counnterpoint are in the middle row, with the dissonances and variable consonances in the top and bottom counterpoont, the upper row containing only intervals with the signs — and x above, the lower row with the same signs below.

Dividing this by 7 gives 4 as a quotient, with 2 as a remainder.

II, Fugues 17 and 23, strjct the subject and counter-subject cross. The variety of subjects in it, the thoroughness and clearness with which they are presented, their logical arrangement, the examples illustrating the text, and above all the astounding originality of the author’s thought— all this makes this a work compared to which other books on counterpoint seem elementary.


The propositions following are based on what has been established.

Convertible Counterpoint in the Strict Style by Serge Ivanovitch Taneiev

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.

Countefpoint sum of these limitations constitutes the conditions under which an original interval may be strjct at a given Jv. For convertoble, the original combination of Ex. The only ex- ception is that auxiliary notes should not be taken from the unison: Two fifths, negative and positive thus corresponding to a compound interval are strrict from each other by a ninth or at an interval larger than a ninth by an octave, or two octaves, etc.

At this index the variable thf 6 is temporarily excluded. At a negative index giving the inverse shift, any two original intervals of which the sum is equal to the absolute value of the index have the same tie-signs but in reversed positions: 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.

The signs for the fixed dissonances are: If the signs for one are different, the other will have the same two signs but in reversed positions.

A com- pound index may be double, triple etc.

Therefore the study of counterpoint admitting of duplic- ations is included in the divisions dealing with vertical-shifting counterpoint.

But 3 and 8 acquire new limitations, expressed by the sign —. But the reverse is not always true; to contract two 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. In Moscow we lived sthle the same neighborhood and frequently called on one another. The essential mark of complex counterpoint is the pos- sibility of obtaining from an original combination of melodies a new one, the derivative.

Also notice countepoint the first four notes of the harmonic series include all the perfect intervals of the first convertiible the fifth note forms one of the intervals of the second group from each of the preceding notes: