part 2 of harmonising a melody like a romantic composer and we explore a common mistake in harmonising a melody. melody fragment taken from 300 texts et réalisations - RAYNAUD Jean-Claude.
Listening to these type of videos (ones that break down harmonisation of romance classical composers) helps me understand it’s influence in Joe Hisaishi’s work and understand his style.
Great video! I personally dislike using suspensions in the bass because I always find it sounds awkward and it often sounds more like a clunky change of harmony rather than an actual suspension. But as you said, it’s ultimately all up to our own aesthetic decisions.
@@skylarlimex I agree! 9-8 (or 2-1 I suppose?) in the bass of a minor chord makes such a crunchy sound!! I suppose one just have to pick when to do what ;)
It's cool to see how differently you can harmonically interpret the melody. When I tried the harmonization, I modulated to a minor through the dominant E major chord (with the D# suspensions), and used a falling bass where the repeated Cs were to modulate back to a G major cadence. It sounded almost exactly like something Schumann would write when I played it on the piano.
Thank you for the great video. I think in the last part, turning the suspensions into the main motif takes the focus off the melody. So I prefer not to do it, or at least not to do it in all of the voices.
Could you recommend literature to firther learn this style? Your videos allow me a glimpse behind the curtain and now I can’t stop wanting to compose more like this
Here s a bla bla theres no mathematically rules in harmony lets assume 10 people will harmonise this sequence will they come with the same harmonic result? NO if i ask 5 plus 5 what it makes 1million people will answer 10 in harmony theres no rules we just come close but cannot hit. Im composer i know what Im saying
