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@Colenbacher Hello I understand your question very well. And I also understand that the answers aren't exactly what you're looking for. Although I agree with them as well. I believe that rather than learning harmony from the Romantic period, what matters is learning the compositional techniques that the composers of this period introduced and used (not just in terms of harmony). It’s absolutely true that to understand this, you need to start by knowing what happened in earlier periods, at least from the Baroque through the Style Galant and Classicism. Because many Romantic techniques are reinventions (“recycled”) of all those earlier styles. I don’t think you’ll find specific sections on Romantic harmony in general treatises and books. I’ve had that curiosity, and interest as well. But I studied the Baroque and the Galant period quite extensively, above all. I even started much earlier with the cantus firmus. And that historical and chronological perspective has helped me immensely in understanding even contemporary music. With this, you’ll see that everything is a continuum; even periods that broke quite sharply with what came before (Impressionism, dodecaphonism) are the result of an evolution. So, just as I did with other periods, I sought out the sources myself and compiled a lot of information on this topic on my blog. First, I provided a general overview, which I’ve transcribed here, and then I analyzed techniques such as augmented chords and modulation, secondary subdominants, dominant chains, chromatic thirds, (traditional) linear techniques, irregular resolutions, and so on. Not to mention that Romanticism is a vast genre and that each composer, moreover, has their own peculiarities. Brahms has nothing in common with Chopin. And let’s not even get started on late Romanticism. Some words from my blog: CHARACTERISTICS OF THE ROMANTIC PERIOD *New forms: symphonic poem, song cycle, music drama, *Study of the folk-heritage in music and imitation of folk-like melodic simplicity, *Predilection for exotic effects through employment of foreign national coloring or the folkloristic heritage (Chopin, Tchaikovsky, the Russians) [Chopin's more than 50 mazurkas represent one of the earliest examples of overt nationalistic sentiments in music], *Break-up of stylistic unity but more individualism, *Higher interest in melody and color rather than harmony and form, longer melodies *Higher dissonances and a freer employment of them, * More use of dynamics and articulations, * Rubato, *A more innovative treatment of chromatic harmony, *Extensive use of diminished seventh chords, *Modulation to distant tonalities, *Use of relations by thirds, *Greater interest in modal techniques (flat seventh [common to many modes], flat second [Phrygian], augmented fourth [Lydian]), *Assimilation of older elements, especially the revival of polyphony and Baroque forms under the influence of JS Bach [Mendelssohn, Brahms], *Thematicism plays a more important role in a sonata movement than tonality, *Thematic metamorphosis: A programmatic approach to composition often associated thematic material with a character or idea. Changing circumstances or emotional states were represented by the transformation of the thematic material (as in Faust Symphony or Symphony Fantastique), *Cell development technique in nationalist music, (music cell = small and melodioc design that can be isolated) *Use of a cyclic device: Material from one movement recurs in another (a technique related to thematic metamorphosis, idee fixe and leitmotive) (Serenade for Strings by Tchaikovsky; Mendelssohn's Eb string quartet; Beethoven's Symphony No.9), *Manipulation of sonata form, including mosaic and additive structures. More organic treatment of the form, *Postludes in the Lieder (especially by Schumann), *Unity on a large scale: merging of separate movements into a single span (Liszt's Sonata in B minor), larger instrumentations, *Finishing a minor mode piece in major (from darkness to light): Egmont overture, Symphony No.5 & 9 , Piano Sonatas Opp.90 & 111, and the second act of Fidelio by Beethoven; Schumann's Fourth Symphony; Franck's Symphony in D minor; Brahms' s First Symphony. *Intense energy and passion, dramatic opera,

Let us get back to you on that.

For these competitions, can you send in more than one entry?

As stated in the title, I've been recently experimenting with ways to add more voices to Bach's 14 canons (BWV 1087) based on the multiple contrapuntal transformations of the harmonic bassline of the Goldberg Variations' Aria. Despite being derived from the tonally transposed inversion of that main theme, the so-called "Theme 2" has been kept separate across this whole compendium since it isn't contrapuntally compatible with its inversion when also retrogradated, syncopated or played with "per arsin et thesin" imitation simultaneously. Had the latter not resulted in whole segments of parallel ocatves, an 8-voice "omnibus" canon might have been possible, but that seems to be out of the scope of these musical materials without significant alterations that would render their canonic accompaniment non-imitative and thus, non-canonic at all. There is one canon from the original that is conspicuously absent from this recollection and that is the penultimate, 13th variation: a triple canon a 6 so densely packed and finely tuned in its original conception that adding more voices without irrecognizably altering the basic structure of the others turned out to be practically impossible. Almost like Bach himself knew this one canon, in its apparent simplicity yet brilliantly complex counterpoint, was the worthiest and most perfect when he chose to be depicted holding it for his portrait. Admittedly, this video would have been better suited for this year's 276th anniversary of Bach's passing (July 27th). However, due to my tightly packed schedule this summer, I find it highly unlikely I'll be able to post anything in time to commemorate that date, hence why I'm posting this video as soon as possible in order to leave room for focusing on my final exams. Lastly, it would be short of an understatement to recognize late Gerubach's video on the 14 Canons proved invaluable to my understanding, research and tinkering with these canons, as well as the core material of much of Bach's repertoire as a whole. Some of his most laborious contributions have since been taken down after his passing more tha three years ago now in 2023, such as for example the scrolling video on the Art of the Fugue. The quality of my scrolling certainly doesn't come anywhere close to his standards, and yet, as poor and humble a homage this may be, I have chosen to honor his memory and the tireless spirit of his countless contributions by acknowledging at the very least the gargantuan influence he has had on the accessible spread of Bach's music and its myriad intricacies. YouTube video link: https://www.youtube.com/watch?v=3g00QMPNDyY Google Drive folder link (full score + audio): https://drive.google.com/drive/folders/1J8NblMrM6T-3muEjVO4j8TKspVfyzDuk?usp=sharing J. S. Bach - 14 canons Vocibus Pluribus Additis.mp3 J. S. Bach - 14 canons Vocibus Pluribus Additis.pdf

Ahem. I actually got approximately 5.286.

I spend a lot of time refining this composition over a period of a few months. Working almost sorely on this piece alone. I also attached the first version of the composition so you can see the difference. Did I make real improvements? Any critique? Thanks in advance. Finale version draft 1War born re composed for orchestra draft 1 20-05-2026 - Flow 1.mp3 First version Like clock work - re write 3 - Flow 1.mp3 warborn revisited finale version.pdf First version Like clock work re write 3 . 18.03.2026.pdf

This is not exactly a masterclass, but more of a space, which connects composers and performers and researchers all around the world. I’ve noticed there are plenty of spaces online to share finished work, but fewer places to think through ideas collectively while they’re still forming. The New Symposium is weekly online gathering where musicians, theorists, and researchers interested in cross-disciplinary exchange come together to share knowledge based on dialogue. It offers a slower and more reflective kind of online space where composers can develop their prototypes based on exchange with others. Website: https://thenewsymposium.com/description/

I think OP wants to learn about the harmonic tendencies and practices of Romantic composers rather than chromatic harmony more generally, which covers a lot of styles, hence the choice of "Romantic" over "Chromatic". As for learning this style of Harmony, I highly recommend analysing works from the period (as others have suggested) or (if you're lazy like me) watching YouTube videos analysing works from the period.

Fair point. His later works were more chromatic. See, the correct word you guys want is not "romantic' but "chromatic". During the 19th century, composers used modal mixture, 9ths, etc.

Me personnally, I found Beethoven useful as he was on the cusp of the classical/romantics eras. One really good example of his work is movement 1 of Moonlight. The fact that the middle voice is just arppegios makes it very easy to identify the chords and harmonies. Mendleson's keyboard works are also amazing for voice leading. If you're thinking about more Rach/Debussy impressionist works, I've found that the complexity and 'romanticism' of their works is more so in the rhythms. Don't fight me, just my opinions.

I wrote this in one day on a band trip. I know it is probably impossible to play with 2 hands. Please give constructive feedback as I would like to continue writing material such as this. 1f9c19c3-6bd3-4456-8846-db679c811726.mp3

You got it!

Thanks! I’ll take a look at these books. I’ll look at pieces too but its important that I first build the background to be able to take in the stuff that I see.

Entry: Chnese Fuge Melodies Themes Motives Harmony Chords Textures Form Development Structure Time Originality Creativity Score Presentation Instrumentation Orchestration Playability Execution of Given Challenge Taste 5 5 1 10 10 n/a 1 5 Average Score:4.6 Review: Execution: Failed to meet the meet time requirement of the challenge. It would not pass the first round! Form: this supposed to be fugue? All three voices start all the same time... Score: the score was presented in clean manner. There were no errors that I saw. Playability; I can not judge this area because of instrumentation. Creativity: It was creative and original Texture: There were unique themes from each instruments that interacted each other. This is not a fugue. But more imiition. Taste: It is interesting to see a different take on what fugue is. But i was confused by it? I felt lost... :( Themes: Each instrument had unique theme,

Entry: Sunset Suite Melodies Themes Motives Harmony Chords Textures Form Development Structure Time Originality Creativity Score Presentation Instrumentation Orchestration Playability Execution of Given Challenge Taste 4 4 3 7 5 4 8 6 Average Score:5 Review: Score presentation: While this score is present in a clean manner, there are technical issues that are connected to idomatic writing for strings (I will address this next). First let us address the over score. Idiomatic writing; There is a lot of ground to cover. 1) The 8va and 8sub above and below the string parts are not idiomatic writing. You would see that keyboard works. 2)rolled chords are not possible in string writing. If there is triple or quadle stop that is used marked by pizz or is rolled. Hower, the triple stop you wrote is not playable. 3) Harmonics are wonderful. They are used those notes outside the natural range of parts. When is there is divi, the voices are not clear. Form: There is no clear with this piece. It seems to be continuous melody. It is not rather if there are sections or not. Creativity/Originality: Yes, this is original and creative piece. Harmony, texture, chords: The over texture is monophonic. There is no sense of harmonic motion. Theme, melody, motive: The melody is way to repetive. Taste: It is relaxing to hear something like something once a while. I want to see this member grow his craft. Mimalism music is hard to write. Raise to challenge!

Yes please make sure you submit on time! I want to make sure I can review and scores objectively.

Ok, you should try it now

Just a reminder to everyone that we have 2 weeks from today to the end of the Landscapes - Soundscapes competition!

@Musicman_3254 Please give us permission to view the PDF score!

And @Musicman_3254 has submitted the following!

I tried to make this as solemn and expressive as possible. This was made using musescore here is the pdf. here is the link I hope you enjoy! sunset-suite-in-c-minor-musicbro456.custom_score.mp3

Hello @Samuel_vangogh Below you will find my review and feed back of your waltz. Score prep: When choosing a M.M it needs to be closer what musicians play. You have a doted half note at 60. Although a program can play that, musicians cannot. A better marking would quarter at 160. That is still rather. You can still provide a tempo marking, too. The dyamic marking are vague. Yes, it starts are p at the start of the piece. But the cres and dim don't indicate rather what dynamic level the player they are heading to. The chords under the melody need to split up! On b 13. remove the chord in the left hand... Form: A: Phrase structure that creates period structure is solid. You have strong sense how use to motive! B: I love the falling 8 note motive and how it does not feel like a waltz A: Great return of waltz.

Guide to the Practical Study of Harmony (Dover Books On Music: Analysis): Tchaikovsky, Peter Ilyitch: 9780486442723: Amazon.com: Books Modulation (Dover Books On Music: Analysis): Reger, Max: 9780486457321: Amazon.com: Books Schoenberg has two: Theory of Harmony and Structures of tonal harmony Harmony and voice leading and tonal harmony: both are used at the undergraduate level. Theory and Analysis, the musician guide is also used too. Remember books can take so far. You have look at examples and analyze works. Composers: Beethoven, Schubert, Schuman, Chopin, ect. All of these learned from those before composers before them. Beethoven learned from Haydn and Crenzy. Crezny who taught listz!

Act 1: Scene 1..............Exceptional Chords especially @ 1:25 You've left the HERD in order explore & Discover your own Unique Contribution to the world & yourself. In the 1st Track , You created an Immediate Impact, Which could easily be Part of a Big-Budget-Film-Score