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

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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 crystallizing 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!

What You'll Learn in 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
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 pgs.

Please click on the Contents tab above for a detailed Table of Contents for this book.

With The Serious Composer series, four of Dr. Goetschius' major works have been re-published and re-edited for easier reading of the material. 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

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 the books in this series.

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. Included among them are: Richard Rodgers, Howard Hanson, Leo Ornstein, Wallingford Riegger, Samuel Gardner, Arthur Loesser, and more. 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 was found online through the Passaic County Historical Society, Lambert Castle, in Paterson, NJ, USA.

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 a 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.

TABLE OF CONTENTS - The Serious Composer, Vol. 4: 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
The Chaconne-Theme

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
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

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
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

303 pgs.

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