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Model #: Goetschius-02-PDF
Manufacturer: Alexander Publishing

Goetschius Vol 2: The Homophonic Forms of Musical Composition - PDF

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About The Homophonic Forms of Musical Composition

Homophonic Music is the kind of music we hear most often. It means "sounding together" and refers to a single dominant melody accompanied by harmonizing chords. It's sometimes known as chordal music and has a simple musical texture. By comparison, polyphonic music has two or more voices, or parts, each with an independent melody yet still harmonizing. Polyphonic music is also known as contrapuntal music.

In The Homophonic Forms of Musical Composition, Percy Goetschius gives an exhaustive look at the methods and design process behind homophonic writing using examples from the classical repertoire.

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 Phrase
Chapter 2 - The Harmonic Equivalent Of The Phrase Melody
Chapter 3 - The Development Or Extension Of The Phrase
Chapter 4 - The Chain Phrase, Melody Expansion, Irregular Phrase Formation
Chapter 5 - The Period Form
Chapter 6 - The Development Or Extension Of The Period Form
Chapter 7 - Group Formations
Chapter 8 - The Double Period
Chapter 9 - The Two-Part Song Form
Chapter 10 - The Fully Developed Two-Part Song-Form
Chapter 11 - The Three-Part Song Form
Chapter 12 - The Ordinary Complete Three-Part Song Form
Chapter 13 - Additional Details Of The Song-Forms
Chapter 14 - The Incomplete 3-Part Song Form
Chapter 15 - The Fully Developed Three-Part Song-Form
Chapter 16 - The Evolution Of The Five-Part Song-Form
Chapter 17 - The Irregular Part-Forms
Chapter 18 - The Song-Form With One Trio
Chapter 19 - Extensions Of The Song With Trio
Chapter 20 - The Lyric Class
Chapter 21 - The Etude Class
Chapter 22 - The Dance Class

332 pgs.

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 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.

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

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  • Detailed Table of Contents

    Chapter 1 - The Phrase
    (a) One Chord Only, From Beginning Up To Cadence
    (b) Different Chord To Each Beat (Rapid Tempo)
    Examine the harmonic origin of the melodic motives in Exercise 1

    Chapter 2 - The Harmonic Equipment Of The Phrase Melody
    Exercise 2

    Chapter 3 - The Development Or Extension Of The Phrase
    1. Phrase Repetition
    (a) Unessential Embellishment of The Melody
    (b) Changes in the Harmony and Modulation
    (c) Shifting The Phrase Melody
    (d) Changes in Character and Style of Accompaniment
    (e) More Complete and Radical Changes in the Course of The Phrase Melody (not, however, Affecting the Beginning, or the End, or Destroying General Resemblance)
    Exercise 3

    2. The Extensions at the End of a Phrase
    (a) The Repetition of the Second Half of the Phrase; Possibly Exact, But Usually Modified
    (b) The Repetition, or (more rarely) The Sequence, of the Last Member of the Phrase; Possibly A Single Repetition, But Usually Twice in Succession
    (a) The Repetition of the Entire Cadence Group (of Chords), Usually at least Twice, and Possibly Modified
    (b) The Repetition of the Two Cadence Chords (v and I); Usually at least Twice, and Either in the Same Form; or with Any Rhythmic or Melodic Change of the Form
    (c) The Reiteration of the Final Tonic Chord, To an Optional Extent, and in Optional Rhythmic and Melodic Form
    (d) A Plagal Cadence, of More or Less Elaborate Character, During The Prolongation of the Final Tonic Note in Soprano, or in Both Outer Parts, For Illustration
    Exercise 4
    Exercise 5

    3. Extensions at the Beginning of a Phrase

    4. The Extension in the Course of a Phrase
    (a) In One or More Repetitions (exacted or variated) of Any Well-defined Member of the Phrase, Forward to the Cadence Member
    (b) In One or More Sequences (exact or Modified) of Any Well-defined member of the Phrase, for Example:
    (c) In the Expansion of any Prominent Chord; or of any Important (prominent) Melody Tone; or Melodic Figure (of Two or Three Tones)
    (d) In the Substitution of a New Cadence Member for the Original One, or the Addition of a New Cadence Member, When Involved by Foregoing Extensions
    Exercise 6
    Exercise 7

    Chapter 4 - The Chain Phrase, Melody Expansion, Irregular Phrase Formation
    Melody Expansion
    Irregular Phrase Construction
    Miscellaneous Examples of Phrase Extension Exercise 8

    Chapter 5 - The Period Form
    (a) The Parallel Construction
    (b) The Opposite Construction
    (c) The Contrasting Construction
    (d) Variety and Unity
    Exercise 9

    Chapter 6 - The Development or Extension of The Period Form
    The Repetition of the Entire Period Form
    The Repetition of the Consequent Phrase
    The Repetition of the Antecedent Phrase, or of both Antecedent and Consequent
    Exercise 10
    Exercise 11
    The Extensions at the Beginning of Either Phrase, or of Both Phrases
    The Extensions at the End of Either Phrase, or of Both Phrases
    Extensions in the Unfolding
    The Codetta
    Miscellaneous Examples of Period Extension
    Exercise 12
    Exercise 13

    Chapter 7 - Group Formations
    The Period with Consequent Group
    The Phrase Group
    The Elision
    Exercise 14
    Exercise 15

    Chapter 8 - The Double Period
    The Extensions of the Double Period
    Miscellaneous Examples of Double-Period Extensions
    Exercise 16
    Exercise 17

    Division Two - The Song Forms or Part Forms
    The Phrase
    The Part
    The Song Form

    Chapter 9 - The Two-Part Song Form
    Two-Part Song Form, Primary Design
    Exercise 18
    The Diminutive Two-Part Song Form
    Exercise 19

    Chapter 10 - The Fully Developed Two-Part Song Form
    Illustration of the fully developed Two-Part Song form
    The Large Two-Part Form, as Type of the Sonatina Form
    Exercise 20

    Chapter 11 - The Three-Part Song Form
    The Three-Part Period
    Exercise 21
    The Beginning Step of the Three-Part Song Form
    Ruling Condition of Tri-Partite Form
    Important Note
    Exercise 22

    Chapter 12 - The Ordinary Complete Three-Part Song Form
    The First Part
    The Second Part: Thematic Conditions
    (a) First, almost total agreement between Parts II and I
    (b) Second, Part II derived from secondary members of the First Part
    Sometimes Part II begins where (so to speak) Part I leaves off
    (c) Third, Part II constructed more or less in the direction opposite to that of the First Part--similar to par. 39b. especially at the start
    (d) Fourth, Part II can diverge still more widely from Part I, and be not only thematically new, but even somewhat independent in character and style
    Tonality of Part II
    Structural Design of Part II
    Sectional Form of Part II
    The Cadence of the Second Part
    The Re-transition
    The Third Part
    Exercise 23

    Chapter 13 - Additional Details of the Song-forms
    1. Irregular Cadences
    2. Modulation
    3. The Dynamic Design
    4. Contrast
    5. Style
    On the Choice of Time
    On the Choice of Tempo
    On the Choice of Principal Mode
    On Certain Rhythmic Quirks
    Coda and Codetta
    Exercise 26

    Chapter 14 - The Incomplete 3-Part Song-form
    Exercise 27
    The Augmented Two-Part Song-Form
    Exercise 28

    Chapter 15 - The Fully Developed Three-part Song-form
    Exercise 29
    Exercise 30
    Exercise 31
    The Large Phrase-Group

    Chapter 16 - The Evolution of the Five-part Song-form
    1. Simple Repetition of the Parts
    (a) The general rule for these repetitions is as follows
    (b) The rule against the repetition of the Second Part alone
    (1) For illustrations of exact rep. of Part I, see
    (2) An exact repetition of Parts II and III takes place in
    (3) Both Divisions are literally repeated in
    (4) For examples of the repetition of Part I with unessential modifications
    (5) Modified repetition of the second Division (Parts II and III) found in
    (6) Finally, both Divisions are repeated with modifications in
    Exercise 32
    2. More Elaborate Copying of the Second Division
    Treatment of Part Five
    The Old-Fashioned Rondeau, and the 7-Part Form
    Exercise 33

    Chapter 17 - The Irregular Part-Forms
    1. The Transposed Third Part
    2. The Group of Parts, Beginning Stage
    3. Group of Parts, Developed and Extended
    Exercise 34

    Division Three - The Compound Song-forms

    Chapter 18 - The Song-Form With One Trio
    The Principal Song
    The Subordinate Song, or Trio
    The Relative (major or minor) key is found in
    The subdominate key appears in
    The Relative of the Subdominate
    Other Possibilities of key-relation between the Prin, and Subordinate songs are shown in the following:
    The Da capo
    The Da capo is slightly variated in
    Somewhat more elaborate variation occurs in the Da Capo of
    An extension of the Da capo takes place in:
    The Coda
    Miscellaneous examples of the Song-form with one Trio
    This is seen in
    Exercise 35

    Chapter 19 - Extensions of the Song with Trio
    The Song-Form with Two Trios
    The Group of Song-forms
    Exercise 36

    Division Four - Conventional Styles of Composition

    Chapter 20 - The Lyric Class
    1. The Song, with Words
    2. The Instrumental Duo
    Examples for reference
    Cello and Piano
    3. The Song Without Words, etc.
    Examples From Piano Literature for reference
    4. The Hymn, Anthem, Glee, etc.

    Chapter 21 - The Etude-Class
    1. The Etude, or Study
    2. The Toccata, Capriccio, Scherzo, Etc.
    Toccata-type, and Prelude
    Caprice, Impromptu, etc.

    Chapter 22 - The Dance-Class
    1. Old Dance-type
    Allemande, Courante, Bourree, Sarabande, Passepied
    1. Modern Dance-Type
    3. The March

    Conclusion: Criticism

    Video Demos

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

    Dance Rhythms by Wallingford Riegger

    Wallingford Riegger: Music For Orchestra