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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,

Upon further reflection the staff have decided not to allow subsequent entries from the same composer in the competition. This is because it would give the said composer a higher chance of winning a badge/award. In the Christmas Music Event which was not a competition, this was allowed because there were no "winners" (either that or everyone was a winner LoL).

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

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