Description

If you like this material ,Please, Join the Instant Composer Groupbuy because we will  bring even more value to elib Description: this is based on the counterpoint of the 18 and 19 century wich means that you will learn to compose inventions and sinfonias (inventions of 3 voices) it’s full of exercises and the keys at the end of all , it starts for the absolute beginner , teaching you to compose one melody line then two at the same time then development of those two and then 3 and 4 voices at the same time! i hope you really enjoy it DescriptionCovering Two, Three, and Four part Counterpoint, Modulations, Sequences, Motive- Development, the Small InventionVery little is known about Percy Goetschius, but 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.Summary Table of Contents Elementary 18th-19th Century Counterpoint Exercises in Elementary Counterpoint – 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 BeatChapter 8 – ModulationsChapter 9 – Three Notes To A BeatChapter 10 – Syncopation, Or Shifted RhythmChapter 11 – The Tie, Continued, RestsChapter 12 – Four Notes To A BeatChapter 13 – Four Notes To A Beat, As Amplified FormsChapter 14 – Rhythmic Movement in Different PartsChapter 15 – Motive Development ImitationChapter 16 – Three-Part Harmony & As Melodic HarmonizationChapter 17 – Secondary Chords & SequencesChapter 18 – With Modulations & Altered StepsChapter 19 – Contrapuntal HarmonyChapter 20 – Three-Part CounterpointChapter 21 – Motive Development With Three Contrapuntal PartsChapter 22 – Four-Part HarmonyChapter 23 – ModulationsChapter 24 – Contrapuntal Four-Part HarmonyChapter 25 – Four-Part CounterpointChapter 26 – Motive Development