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Detailed Table of Contents
Introduction

What’s Inside
Elementary 18th Century Counterpoint is new revision of Dr. Goetschius’ classic work. Covers Two, Three, and Four part Counterpoint, Modulations, Sequences, Motive- Development, the Small Invention

Summary Table of Contents
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

Here’s a partial list of Dr. Goetschius’ students and online material on or by them:
Pauline Alderman
Samuel L.M. Barlow
Samuel Gardner
Howard Hanson
Eva Jessye
Arthur Loessser (brother was Frank Loesser, the Broadway composer)
Daniel Gregory Mason
Pierre Maurice
Leo Ornstein
Wallingford Riegger
Richard Rodgers
Zygmund Przemyslaw Rondomanski
Arthur Shepherd

The Author of The Homophonic Forms of Musical Composition
Percy Goetschius was born in Paterson, NJ in 1853. Goetschius was the organist of the Second Presbyterian Church from 1868-1870, the First Presbyterian from 1870-1873, and the pianist for the Paterson Choral Society.

In 1873, he went to Stuttgart, Wurttemberg (Germany) to study theory in the conservatory, later becoming professor. The King conferred upon him the title of royal professor. Goetschius was both an active composer and reviewer.

In 1892 he began teaching at the New England Conservatory. In 1896 he opened his own private studio. Nine years later, in 1905, Goetshcius joined the teaching staff of the Institute of Musical Art in New York City, which later became The Julliard School of Music.

His 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.

Dr. Goetschius died in Manchester NH October 29, 1943.

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What’s Inside
This is a completely revised second edition. Covers Melodic Phrase Development and Extensions, Accompaniment Styles and Rhythms, Two and Three Part Song Forms, Songs with Lyrics, Etudes, Dance Class

Read a Sample
Introduction

Summary Table of Contents
Chapter 1 - The Phrase
Chapter 2 - The Harmonic Equipment Of The Phrase Melody
Chapter 3 - The Development Or Extension OF The Phrase
Chapter 4 - The Chain Phrase, Melody Expansion, Irregular Phrase
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
Conclusion: Criticism

Here’s a partial list of Dr. Goetschius’ students and online material on or by them:
Pauline Alderman
Samuel L.M. Barlow
Samuel Gardner
Howard Hanson
Eva Jessye
Arthur Loessser (brother was Frank Loesser, the Broadway composer)
Daniel Gregory Mason
Pierre Maurice
Leo Ornstein
Wallingford Riegger
Richard Rodgers
Zygmund Przemyslaw Rondomanski
Arthur Shepherd

The Author of The Homophonic Forms of Musical Composition
Percy Goetschius was born in Paterson, NJ in 1853. Goetschius was the organist of the Second Presbyterian Church from 1868-1870, the First Presbyterian from 1870-1873, and the pianist for the Paterson Choral Society.

In 1873, he went to Stuttgart, Wurttemberg (Germany) to study theory in the conservatory, later becoming professor. The King conferred upon him the title of royal professor. Goetschius was both an active composer and reviewer.

In 1892 he began teaching at the New England Conservatory. In 1896 he opened his own private studio. Nine years later, in 1905, Goetshcius joined the teaching staff of the Institute of Musical Art in New York City, which later became The Julliard School of Music.

His 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.

Dr. Goetschius died in Manchester NH October 29, 1943.

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What’s Inside
This is a newly revised second edition. Covers the Invention, Fugue, Canon & other Polyphonic Forms

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Preface

Purpose - Preface
Introduction
Section One - The Fundamental Principles of the Simple
Chapter 1 - Condition 1
Chapter 2 - Condition 2
Chapter 3 - Condition 3
Chapter 4 - Development of Thematic Resources and Various Modes of Imitation
Chapter 5 - The Two-Voice Invention
Chapter 6 - The Contrapuntal Association of Three
Chapter 7 - The Three-Voice Invention
Chapter 8 - The Invention for More Than Three Voices
Chapter 9 - Free Polyphonic Forms; the Invention as Prelude; the Fantasia, Toccata, Etc
Chapter 10 - The Small Species of Chorale-Figuration
Chapter 11 - The Large Species of Chorale-Figuration
Chapter 12 - The Four-Voice Fugue; the Exposition
Chapter 13 - The Fugue With Less or More Than Four
Chapter 14 - Miscellaneous Varieties of the Fugue-Form;
Chapter 15 - The Double Fugue
Chapter 16 - The Triple-Fugue
Chapter 17 - The Round, or Round-Canon
Chapter 18 - The Progressive Canon
Chapter 19 - The Two-Voice Canon, Accompanied
Chapter 20 - The Canon for More Than Two Parts
Chapter 21 - The Double-Canon, Etc.
Chapter 22 - Canon as Chorale-Elaboration
Appendix - Klengel: 20 Canons and Fugues

Here’s a partial list of Dr. Goetschius’ students and online material on or by them:
Pauline Alderman
Samuel L.M. Barlow
Samuel Gardner
Howard Hanson
Eva Jessye
Arthur Loessser (brother was Frank Loesser, the Broadway composer)
Daniel Gregory Mason
Pierre Maurice
Leo Ornstein
Wallingford Riegger
Richard Rodgers
Zygmund Przemyslaw Rondomanski
Arthur Shepherd

The Author of The Homophonic Forms of Musical Composition
Percy Goetschius was born in Paterson, NJ in 1853. Goetschius was the organist of the Second Presbyterian Church from 1868-1870, the First Presbyterian from 1870-1873, and the pianist for the Paterson Choral Society.

In 1873, he went to Stuttgart, Wurttemberg (Germany) to study theory in the conservatory, later becoming professor. The King conferred upon him the title of royal professor. Goetschius was both an active composer and reviewer.

In 1892 he began teaching at the New England Conservatory. In 1896 he opened his own private studio. Nine years later, in 1905, Goetshcius joined the teaching staff of the Institute of Musical Art in New York City, which later became The Julliard School of Music.

His 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.

Dr. Goetschius died in Manchester NH October 29, 1943.

Order From
TrueSpec.com

What’s Inside
This is a newly revised second edition. Covers longer compositional forms including sonata allegro, dance, rondo and others.

Read a Sample
Preface
Detailed Table of Contents

Summary Table of Contents
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
Chapter 7 - The First Rondo Form
Chapter 8 - The Second Rondo Form
Chapter 9 - The Third Rondo Form
Chapter 10 - The Sonatina-form
Chapter 11 - The Sonata-Allegro Form
Chapter 12 - Miniature Sonata-Allegro, as Expanded Three-part
Chapter 13 - Irregular Forms: Introduction
Chapter 14 - Isolated Unique Designs
Chapter 15 - The Overture
Chapter 16 - The Compound Forms

Here’s a partial list of Dr. Goetschius’ students and online material on or by them:
Pauline Alderman
Samuel L.M. Barlow
Samuel Gardner
Howard Hanson
Eva Jessye
Arthur Loessser (brother was Frank Loesser, the Broadway composer)
Daniel Gregory Mason
Pierre Maurice
Leo Ornstein
Wallingford Riegger
Richard Rodgers
Zygmund Przemyslaw Rondomanski
Arthur Shepherd

The Author of The Homophonic Forms of Musical Composition
Percy Goetschius was born in Paterson, NJ in 1853. Goetschius was the organist of the Second Presbyterian Church from 1868-1870, the First Presbyterian from 1870-1873, and the pianist for the Paterson Choral Society.

In 1873, he went to Stuttgart, Wurttemberg (Germany) to study theory in the conservatory, later becoming professor. The King conferred upon him the title of royal professor. Goetschius was both an active composer and reviewer.

In 1892 he began teaching at the New England Conservatory. In 1896 he opened his own private studio. Nine years later, in 1905, Goetshcius joined the teaching staff of the Institute of Musical Art in New York City, which later became The Julliard School of Music.

His 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.

Dr. Goetschius died in Manchester NH October 29, 1943.