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Goetschius Vol 4: The Larger Forms of Musical Composition - PDF

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About The Larger Forms of Musical Composition


This book is a sequel to both The Homophonic Forms of Musical Composition and Counterpoint Applied. The aim of Percy Goetschius for this volume was to give students of musical analysis and practical composition a guide through the successive stages in the evolution of the larger and largest forms of musical structure.

The Larger Forms of Musical Composition pulls its examples from the classical repertoire, not only because they provide the most reliable basis of technical habit, but also because the thorough knowledge of these older forms must precede the inevitable and desirable advance into the modern ones. As Goetschius states, "the classic designs are not lightly to be overthrown, for they are the cumulative product of a gradually dawning recognition of nature's laws, steadily progressing and crystalizing through the gathering and eliminating experiences of master-minds during many past centuries. It seems reasonable, therefore, to assume that true structural progress cannot be achieved by abandoning them, but rather by building on them."

Goetschius advises students of composition to master these classic forms through the exercises given in the book. Once mastered, these musical forms will give you a solid technical basis upon which to explore your own creativity and increase the power of your genius!

A good working knowledge of beginning harmony and counterpoint as covered in Applied Professional Harmony 101 and 102 is recommended to get the most out of this volume.

What You'll Learn:
Chapter 1 - The Ground-Motive
Chapter 2 - The Ground-bass, or Basso Ostinato
Chapter 3 - The Passacaglia
Chapter 4 - The Chaconne
Chapter 5 - The Small (or simple) Variations-form
Chapter 6 - The Large (or Higher) Variation-Form
Division Two - The Rondo-Forms: Introduction
Chapter 7 - The First Rondo Form
Chapter 8 - The Second Rondo Form
Chapter 9 - The Third Rondo Form
Division Three - The Sonata-Allegro Forms: Introduction
Chapter 10 - The Sonatina-form
Chapter 11 - The Sonata-Allegro Form
Division Four - The Fugue
Chapter 12 - Miniature Sonata-Allegro, as Expanded Three-part Song-Form
Chapter 13 - Irregular Forms: Introduction
Chapter 14 - Isolated Unique Designs
Chapter 15 - The Overture
Chapter 16 - The Compound Forms

303 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


Indepth Table of Contents
The Larger Forms of Musical Composition


Chapter 1 - The Ground-Motive


Chapter 2 - The Ground-bass, or Basso Ostinato


Chapter 3 - The Passacaglia


Chapter 4 - The Chaconne


Chapter 5 - The Small (or simple) Variations-form


Chapter 6 - The Large (or Higher) Variation-Form


Division Two - The Rondo-Forms: Introduction


What a Theme is

Two Kinds of Themes

Application to the Rondo Form

The First Rondo Form

The Second Rondo Form

The Third Rondo Form


Chapter 7 - The First Rondo Form
The Principal Theme

Transition

The Process of Transition

The First Stage

The Second Stage

Dissolution of the Form

The Subordinate Theme

The Re-Transition

The Recurrence of the Principal Theme

The Coda

Relation of the First Rondo Form to the Song-form with Trio

1. The insertion (in the Song with Trio) of a retransitional passage

2. The addition of a Coda, to the Song with Trio

3. The modification or variation of the da capo

4. The Character of the digression (Trio), and also its key


Chapter 8 - The Second Rondo Form
The Principal Theme

The First Transition

The First Subordinate Theme

The First Retransition

The First Recurrence (or Da Capo) of the Principle Theme

The Second Transition

The Second Subordinate Theme

The Second Retransition

The Second Recurrence (or Da Capo) of the Principle Theme

The Coda

Relation of the Second Rondo Form to the Song form with Two Trios


Chapter 9 - The Third Rondo Form
The First Division

The Middle Division

The Recapitulation

The Coda



Division Three - The Sonata-Allegro Forms: Introduction


Chapter 10 - The Sonatina-form
The Exposition

The Retransition

The Recapitulation, and Coda

Intermediate Grade


Chapter 11 - The Sonata-Allegro Form
The Exposition

The Development

The Coda


Chapter 12 - Miniature Sonata-Allegro, as Expanded Three-part Song-Form

Noteworthy Varieties of the Sonata-allegro Form

The Basic Motive

Transposed Themes

Polyphony, in the Larger Forms

Augmentation


Chapter 13 - Irregular Forms: Introduction
Exchanges, or Mixtures

1. The Rondo with Development

2. The Sonata-Allegro with a Middle Theme in, or instead of, the Development

Augmentations

Double Subordinate Theme

The Concerto-allegro

Sonatina-form with final da capo

Larger Forms with "Trio"

Abbreviations, or Omissions
6 "Dislocations" of the Design


Chapter 14 - Isolated Unique Designs
a. Beethoven Symphony, No. 5, Andante

b. Beethoven Symphony, No. 9, Adagio

c. Somewhat similar is Schubert, Sonata, No op. 143, last movement

d. Beethoven, String-quartet, op. 59, No. 1, second movement

e. Brahms, 1st Piano quartet, op. 25, last movement, Alla Zingarese

f. Mendelssohn, Scherzo capriccioso, m f-sharp minor

g. Mendelssohn, Overture to "Melusine."

h. Brahms, 1st Piano Concerto, op. 15, first movement


Chapter 15 - The Overture
Dramatic or Classic Overture

The Potpourri Overture

The Concert Overture

The Tone Poem


Chapter 16 - The Compound Forms
The Suite

The Minuet

The Trio

Concerto

Symphony

Video Demos


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


Arthur Loesser studied with Dr Goetschius and went on to become a leading concert pianist. Below is one of his performances (Arthur Loesser in Recital (NY 1967)) with him speaking at the beginning.


From the Canebrake by Samuel Gardner, performed by Jascha Heifetz