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Inspired by Spinoza, [6] Taneyev developed a theory which covers and generalizes a wide range of advanced contrapuntal phenomena, including what is known to the english-speaking theorists as invertible counterpoint (although he describes them mainly using his own, custom-built terminology), by means of linking them to simple algebraic procedures.
The principles of strict counterpoint constitute one of the fundamental components of Schenker's musical theory (see Schenkerian analysis).For Schenker, the study of counterpoint is the study of voice leading; in particular, contrapuntal theory is separate from and independent of harmonic theory, which is concerned with scale-steps (see Harmony).
In music theory, contrapuntal motion is the general movement of two or more melodic lines with respect to each other. [1] In traditional four-part harmony, it is important that lines maintain their independence, an effect which can be achieved by the judicious use of the four types of contrapuntal motion: parallel motion, similar motion, contrary motion, and oblique motion.
Voice exchange is also used in Schenkerian analysis to refer to a pitch class exchange involving two voices across registers, one of which is usually the bass. In this sense, it is a common secondary structural feature found in the music of a wide variety of composers. [12]
The enigmatical character of a [puzzle] canon does not consist of any special way of composing it, but only of the method of writing it down, of which a solution is required." [43] Clues hinting at the solution may be provided by the composer, in which case the term "riddle canon" can be used. [32] J. S.
Voice leading developed as an independent concept when Heinrich Schenker stressed its importance in "free counterpoint", as opposed to strict counterpoint. He wrote: All musical technique is derived from two basic ingredients: voice leading and the progression of scale degrees [i.e. of harmonic roots]. Of the two, voice leading is the earlier ...
Counterpoint for Beginners (London, 1927) Invertible Counterpoint and Canon (London, 1927) The Elements of Fugal Construction (London, 1929) Six Lectures on Accompanied Vocal Writing (London, 1930) Contrapuntal Harmony for Beginners (London, 1931) Rudiments of Music for Junior Classes (London, 1931) The Elements of Musical Composition (London ...
In Schenkerian analysis, the fundamental structure (German: Ursatz) describes the structure of a tonal work as it occurs at the most remote (or "background") level and in the most abstract form. A basic elaboration of the tonic triad , it consists of the fundamental line accompanied by the bass arpeggiation .
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