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Goetschius Vol 1: Elementary 18th-19th Century Counterpoint - PDF

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About Elementary 18th-19th Century Counterpoint


Counterpoint is one of the technical processes of music writing. The object of contrapuntal practice is to empower you to add melody to melody - or to obtain a blend of two, three, or more tone-lines that agree with each other harmonically and yet are sufficiently independent of each other to present really different melodic lines.

Briefly Defined:
  • Melody is a succession, or continuous line, of single tones.
  • Harmony is a succession of chords or vertical columns of tones that harmonize in their simultaneous presentation.
  • Counterpoint is the agreeable combination of individually perfect, but independent, melodies.

  • What You'll Learn:
    Chapter 1 - The Single Melodic Line
    Chapter 2 - Wider Leaps
    Chapter 3 - Exceptional Progressions - Minor Mode
    Chapter 4 - The Combination of Two Melodic Lines
    Chapter 5 - The Minor Mode
    Chapter 6 - Exceptional Intervals: Major & Minor
    Chapter 7 - Rhythmic Diversity - Two Notes to a Given Beat
    Chapter 8 - Modulations
    Chapter 9 - Three Notes To A Beat
    Chapter 10 - Syncopation, Or Shifted Rhythm
    Chapter 11 - The Tie, Continued, Rests
    Chapter 12 - Four Notes To A Beat
    Chapter 13 - Four Notes To A Beat, As Amplified Forms
    Chapter 14 – Rhythmic Movement in Different Parts
    Chapter 15 - Motive Development Imitation
    Chapter 16 - Three-Part Harmony & As Melodic Harmonization
    Chapter 17 - Secondary Chords & Sequences
    Chapter 18 - With Modulations & Altered Steps
    Chapter 19 - Contrapuntal Harmony
    Chapter 20 - Three-Part Counterpoint
    Chapter 21 - Motive Development With Three Contrapuntal Parts
    Chapter 22 - Four-Part Harmony
    Chapter 23 - Modulations
    Chapter 24 - Contrapuntal Four-Part Harmony
    Chapter 25 - Four-Part Counterpoint
    Chapter 26 - Motive Development

    212 pps.

    About Percy Goetshcius

    Richard Rodgers (of Rodgers & Hammerstein) said that Percy Goetschius was to harmony what Gray was to anatomy. Rodgers should know as Dr. Goetschius was Richard Rodgers' teacher at the school that later became Juilliard.

    Dr. Goetschius' list of students was a true Who's Who of composers and composers whose lives spanned into the early 21st Century. Outside of Nadia Boulanger, it's doubtful that any other single music teacher has had such a profound impact on his students as Percy Goetschius did.

    What we know of Dr. Goetschius we found on line through the Passaic County Historical Society, Lambert Castle, in Paterson, NJ.

    Percy Goetschius is a native Patersonian who has won international fame in the teaching of the theory of composition. Born in this city in 1853, he was piano pupil of Robert E. H. Gehring, a prominent teacher of that era. Mr. Goetschius was the organist of the Second Presbyterian Church 1868-1870 and of the First Presbyterian 1870-73, and pianist of Mr. Benson’s Paterson Choral Society. He went to Stuttgart, Wurtenberg, in 1873 to study in the conservatory, and soon advanced to the teaching ranks. The King conferred upon him the title of royal professor. He composed much, and reviewed performances for the press. In 1892 he took a like position in the New England Conservatory, Boston, and four years later opened a studio in that city. In 1905 he went to the staff of the New York Institute of Music and Art, headed by Dr. Frank Damrosch. Prof. Goetschius has published nine textbooks on theory, which are accepted as standards in the musical world.


    We've re-published and re-edited for easier reading four of Dr. Goetschius' major works. His recommended order of study is as follows:

    1. Elementary 18th-19th Century Counterpoint

    2. The Homophonic Forms of Musical Composition

    3. Counterpoint Applied

    4. The Larger Forms of Musical Composition

    Contents


    Exercises in Elementary Counterpoint - Introduction
    Chapter 1 - The Single Melodic Line
    Chapter 2 - Wider Leaps
    Chapter 3 - Exceptional Progressions - Minor Mode
    Chapter 4 - The Combination of Two Melodic Lines
    Chapter 5 - The Minor Mode
    Chapter 6 - Exceptional Intervals: Major & Minor
    Chapter 7 - Rhythmic Diversity - Two Notes to a Given Beat
    Chapter 8 - Modulations
    Chapter 9 - Three Notes To A Beat
    Chapter 10 - Syncopation, Or Shifted Rhythm
    Chapter 11 - The Tie, Continued, Rests
    Chapter 12 - Four Notes To A Beat
    Chapter 13 - Four Notes To A Beat, As Amplified Forms
    Chapter 14 – Rhythmic Movement in Different Parts
    Chapter 15 - Motive Development Imitation
    Chapter 16 - Three-Part Harmony & As Melodic Harmonization
    Chapter 17 - Secondary Chords & Sequences
    Chapter 18 - With Modulations & Altered Steps
    Chapter 19 - Contrapuntal Harmony
    Chapter 20 - Three-Part Counterpoint
    Chapter 21 - Motive Development With Three Contrapuntal Parts
    Chapter 22 - Four-Part Harmony
    Chapter 23 - Modulations
    Chapter 24 - Contrapuntal Four-Part Harmony
    Chapter 25 - Four-Part Counterpoint
    Chapter 26 - Motive Development

    Video Demos


    Listen to the music of several of Dr. Goetschius' students as found on YouTube.


    Howard Hanson - Symphony #2 "Romantic" (featured in the movie "Alien")


    Leo Ornstein - Waltz No. 7