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Excerpt from Exercises in Melody-Writing: A Systematic Course of Melodic Composition, Designed for the Use of Young Music Students, Chiefly as a Course of Exercise Collateral With the Study of Harmony Whether there are laws governing melodic conduct, or not, is a question to which an answer will be found in the book itself. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.

This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

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This Is A New Release Of The Original 1900 Edition.

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This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

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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Multi-hit songwriter Clay Mills breaks down the mystery of melody writing to give your songs an edge with the PRA method. Learn how to write inspiring songs without waiting for inspiration. Highlighting personal stories, easy-to-understand method explanations, classic and modern song examples, "Put It into Practice" exercises, and a free companion website, Mills and O'Hanlon's Mastering Melody Writing is the perfect songwriting handbook, whether you are just getting started on your journey or looking to sharpen your skills. Mastering Melody Writing will help you: Write memorable melodies in any genre using pattern, repetition, and arc. Write songs that artists want to sing and audiences will remember. Write lyrics that are more musical. Eliminate getting stuck and complete songs faster. Feel confident in any writing or co-writing situation. Turn good melodies into great melodies.