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Writing very 'romantic' music?


healey.cj

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Hey,

I've just become Obsessed with Prokofiev's Violin concerto in D Major - The 3rd movement (moderato)

Very beautiful piece.

First section of the movement is this very romantic sounding melody line which sends shivers up my spine.

Is anyone familiar without the ins and outs of such music and how one achieves such an effect?

Is it the use of particular colour notes or chord extension?

I know that it is definitely that Very high solo violin which creates a lot of the effect, but what melodically makes this so - almost - stereotypically romantic?

Chris :-)

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Guest thatguy

honestly, i would just look at the score to that piece, or any other piece thats you feel is "romantic" and see what they do. :D

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Prokofiev is not usually considered romantic. So maybe you are referring to something else - expressive melodic line, minor key harmonies, something else. Maybe there is a better expression than romantic that actually implies either candle-lit dinners for two or an exaggerated emotionalism and an obsession with the supernatural.

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If you want romantic, just through a G+7(#9) chord in whatever you're writing.

Kidding.

I actually have no clue. I would a ssume that romantic music would be somewhat slow, psossibly in a major key, I but I don't care for major keys or slow music. Maybe I'm to young to write a romantic piece.

Maybe you actually have to experience romance first. Ah well...

~Kal

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Yes, you are right albyth. Romantic really isn't a good term for what I'm talking about.

It isn't even particularly romantic.

It is that very early-Stravinsky harmony and melodic stuff.

Just gorgeous.

I think it is the way the melody interacts with the lush minor-harmony chords.

It seems to modulate every two bars nearly in the section I'm thinking of.

I just had a look at the chord progression:

For first 3 bars of the melody:

Gdim alternating in quavers with a Gminor (6/3) chord.

One bar of Bbm7

One bar of Dbdim7/E (natural) or something like that - alternating in quavers with Cminor

one bar Ebm7 alternating with Gminor

one bar Ab7 alt with Fminor

Abm7 alt with Cmin

etc.

Not a major chord in sight (excluding the Ab7 base triad)

Does the above mean anything to any of you?

lol

Chris :-)

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to comment on your Stravinsky example there is a pattern in the minor chord prgressions, the chords are moving by major third motion...for example Ebm7 to Gm belong in distant keys from eachother, hence the exotic sound

Based on the harmony you seem to like, I'd suggest doing harmonic analysis of these

Prelude and Liebestod (from Tristan und Isolde) - Wagner

Prelude To The Afternoon of a Faun - Debussy

Verklarte Nacht - Schoenberg

Sonata No. 5 - Scriabin

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  • 2 weeks later...
It is that very early-Stravinsky harmony and melodic stuff.
Got to agree, early Stravinsky produced some very beautiful music. Ravel and Debussy wrote some similar music; I'd recommend a listen to Daphnis and Chloe, and La Mer. Not necassarily romantic, but incredibly warm.

Edit: with my last few posts, I've become an intermediate composer! I'm surely only a hundred-odd posts from being the next Wagner! Can't wait!

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  • 1 month later...
God... Some of you kids....

Well if I go by some of your definitions and "feelings" then Berio's Sequenzas No. V and VI are very romantic because I've made passionate love while listening to them.

Then my b/f cheated on me..>

*honk* "Whhhhhhhhhhhhhhhhhhy??? *honk*

Oh god... the foreshadowing.

Well, how romantic is this story? Did he cheat on you with another woman or another man? I mean, Romanticism can get pretty juicy. Let's hear the details!

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