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Compositional Process in Complex Sequences in Two-Part Texture
University of Arts, Faculty of Music Arts, Serbia

emailsence.belic@gmail.com
Abstract
The text begins with the redefinition of the term "complex sequence" in relation to the term "complex counterpoint". There are two basic types of complex sequences - the sequence with a dual model and a cross-transposition sequence - while the third type represents their combination. Furthermore, the two shown examples from pedagogical practice illustrate the most common mistakes made in making two basic types. As a rule, the problem lies in the poor problem location. A precise methodology is presented in the central part of the text on a step-by-step basis, first with dual model sequences and then with code sequences with cross-transposition. The final section of the text summarizes all most important elements for making complex two-part sequences.
References
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Božanić, Zoran (2014). Teorija složenog kontrapunkta na primeru muzičke prakse strogog stila, doktorska disertacija, Beograd: Univerzitet umetnosti
Božanić, Zoran (2019). Suvremeni teorijski pristupi renesansnoj tehnici pokretnoga kontrapunkta, Zagreb: HDGT
Taneev, Sergej (1909). Podvižnoj kontrapunkt strogago pis'ma. M. P. Belâev': Lejpcig'
Radenković, Milutin (1972). Sekvenca u klasičnoj instrumentalnoj fugi. Beograd: Umetnička akademija
Živković, Mirjana (2005). Instrumentalni kontrapunkt za srednje muzičke škole. Beograd: Zavod za udžbenike i nastavna sredstva
Peričić, Vlastimir (1987). Instrumentalni i vokalno-instrumentalni kontrapunkt. Beograd: Univerzitet umetnosti
 

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article language: Serbian
document type: Paper
DOI: 10.5937/PFSU19213B
published in Portal: 30/10/2025
Creative Commons License 4.0

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