Dedicated to Dr. Frank Damrosch EXERCISES IN ELEMENTARY
COUNTERPOINT BY PERCY GOETSCHIUS, Mus. Doc. Royal JFurttemburz
Professor Author cf The Mztifizl wed in Musicd Composition The
Theory and Practice cf Tsne-Rflztions, The Hvmuphjnic Fwms cf
Musical Cmtwitiun Models c the Principal Music Forms, Exercises in
Mthdy Writing Applied Cwnterpoitt, Lessens in Music t ett. G.
SCHIRMER, INC., NEW YORK COPYRIGHT, 1910 BY G. SCHIRMER, INC.
COPYRIGHT RENEWAL ASSIGNED, 1938, To G. SCHIRMER, INC. 21946
Printed in the U, S. A. PREFACE. THE present volume is intended and
expected to cover more ground than its title implies. In the
authors mind it represents a course in Harmony, quite as much as in
Counterpoint. It owes its inception to the authors often expressed
conviction that these two courses of study cannot be separated and
also to a constantly strength ening belief that the most rational,
quickest and best way to acquire a thorough knowledge of the chords
and their uses the recognized purpose of the study of Harmony is to
begin with one part, to pass from that to two, from that to three,
and thus gradually arrive at full four-part harmony. For this
reason, an extensive preparatory knowledge of Harmony is not at all
necessary, though a general knowledge of the chords will facili
tate the study of this book, and is therefore recommended. Such
general familiarity may be gained by the study of Part II of my
Material, or Chapters III to XXX of my Tone-Relations. The full
four-part texture, when approached in this way, as system atized in
these chapters, will have developed itself naturally into Counter
point and its acquisition will fully prepare the student to
undertake the subsequent tasks inhomophonic and polyphonic
composition. THE AUTHOR. NEW YORK, February, 1910. TABLE OF
CONTENTS. SAGS INTRODUCTION. i Chapter L THE SINGLE MEIODIC LINE,
STEPWISE PROGRESSIONS AND NAR ROW LEAPS S Exercise i 7 Chapter H.
WIDER LEAPS 8 Exercise 2 n Chapter HI. EXCEPTIONAL PROGRESSIONS,
AND THE MINOR MODE n Exercise 3 15 Chapter IV. THE ASSOCIATION OF
Two MELODIC LINES. CORRESPONDING RHYTHM. FUNDAMENTAL INTERVALS.
MAJOR MODE 15 Exercise 4 20 Chapter V. FUNDAMENTAL INTERVALS, MINOR
MODE 22 Exercise 5 23 Chapter VI. EXCEPTIONAL INTERVALS 24 Exercise
6 28 Chapter VIL RHYTHMIC DIVERSITY. Two NOTES TO EACH BEAT 29
Exercise 7 36 Chapter VIE. MODULATIONS 37 Exercise 8 41 Chapter IX.
THREE NOTES TO EACH BEAT 43 Exercise g 46 Chapter X. SYNCOPATION,
OR SHITTED RHYTHM. TIES. Two AND THREE NOTES TO EACH BEAT 47
Exercise 10 50 Chapter XL THE TIE, CONTINUED. RESTS 51 Exercise n
56 Chapter XIE. FOUR NOTES TO EACH BEAT 57 Exercise 12 62 Chapter
xm. FOUR NOTES TO EACH BEAT, AS AMPLIFIED FORMS 63 Exercise 13 7
TABLE OF CONTENTS PAGE Chapter XIV. DIVERSITY OF RHYTHMIC MOVEMENT
IN THE Two PARTS 67 Exercise 14 73 -. u Chapter XV
MOTIVE-DEVELOPMENT. IMITATION. THE SMALL INVENTION 73 Exercise 15
81 Chapter XVI. THREE-PART HARMONY, MELODY HARMONIZATION WITH PRI
MARY CHORDS 83 Exercise 16 91 Chapter XVII. SECONDARY CHORDS.
SEQUENCES 92 Exercise 17 94 Chapter XVDI. MODULATION, DIATONIC AND
CHROMATIC. ALTERED SCALE STEPS 96 Exercise 18 99 Chapter XIX.
CONTRAPUNTAL HARMONY, THREE PARTS. SIMPLE AND AMPLIFIED 101
Exercise 19 105 Chapter XX. THREE-PART COUNTERPOINT 106 Exercise 20
113 Chapter XXI. MOTIVE-DEVELOPMENT. THE SMALL INVENTION, THREE
PARTS 114 Exercise 21 121 Chapter XXII. FOUR-PART HARMONY.
MELODYHARMONIZATION. . PRIMARY AND SECONDARY CHORDS. SEQUENCES 122
Exercise 22 126 Chapter XXm, MODULATION 126 Exercise 23 131 Chapter
XXIV. CONTRAPUNTAL HARMONY, FOUR PARTS. SIMPLE AND AMPLIFIED 132
Exercise 24 137 Chapter XXV. FOUR-PART COUNTERPOINT ANALYSIS 138
Exercise 25 p . 145 Chapter XXVL MOTIVE-DEVELOPMENT. THE SMALL
INVENTION, FOUR PARTS 146 Exercise 26 149 APPENDIX 151 EXERCISES IN
ELEMENTARY COUNTERPOINT INTRODUCTION. Music, theoretically
considered, consists altogether of LINES OF TONE...
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