What Technique(S) Is This Guy Using?

All I know is that whatever he is doing cannot be explained by common practice theory.

I have only taken theory I so far and I don't have perfect pitch so I'd like you guys to enlighten me on what's going on here.

I'd also like to know the following:

Type of harmony, what types of chords are used

Beat structure or time signature

Whether it's tonal or something else completely

Most of all I want to know what sets this apart from other music, unless of course I'm just really stupid and there are lots of people who make songs in this style.

This song is called "Modernisierungs III"

http://youtu.be/kMDSH5tckkc

This song is called "Impromptu furioso"

http://youtu.be/k-K2dxk7Ljo

Both are composed by Masashi Hamauzu

Another question: Am I posting in the wrong section?

I hear chords larger than 9th, mostly 11th and 13th, is like 70% Impressionism, 30% Jazz, with this I tell you is nothing like the theory you've studied, I have no time to make you a score of this but start exploring these type of chords:

Cmaj7(#11) = C+E+G+B+D+F#

C7(#11) = C+E+G+Bb+D+F#

Cm7(11) = C+Eb+G+Bb+D+F

Now move them around, this work may have been written with a key signature or not, this is beyond normal tonalities, so it makes no difference, also you do have strict degree moving, most of chords have a double degree value, from where they came, and to where they're going, no need to dig too much into this, just play those chords in all the roots you can, and add some good feeling rhythm.

Note: If too confusing, keep studying you'll understand in the future :thumbsup:

Thank you for the response.

I hear chords larger than 9th, mostly 11th and 13th, is like 70% Impressionism, 30% Jazz, with this I tell you is nothing like the theory you've studied, I have no time to make you a score of this but start exploring these type of chords:

 

Cmaj7(#11) = C+E+G+B+D+F#

C7(#11) = C+E+G+Bb+D+F#

Cm7(11) = C+Eb+G+Bb+D+F

 

Now move them around, this work may have been written with a key signature or not, this is beyond normal tonalities, so it makes no difference, also you do have strict degree moving, most of chords have a double degree value, from where they came, and to where they're going, no need to dig too much into this, just play those chords in all the roots you can, and add some good feeling rhythm.

 

Note: If too confusing, keep studying you'll understand in the future :thumbsup:

That's all I really needed wanted to hear.

I hear chords larger than 9th, mostly 11th and 13th, is like 70% Impressionism, 30% Jazz, with this I tell you is nothing like the theory you've studied, I have no time to make you a score of this but start exploring these type of chords:

 

Cmaj7(#11) = C+E+G+B+D+F#

C7(#11) = C+E+G+Bb+D+F#

Cm7(11) = C+Eb+G+Bb+D+F

 

Now move them around, this work may have been written with a key signature or not, this is beyond normal tonalities, so it makes no difference, also you do have strict degree moving, most of chords have a double degree value, from where they came, and to where they're going, no need to dig too much into this, just play those chords in all the roots you can, and add some good feeling rhythm.

 

Note: If too confusing, keep studying you'll understand in the future :thumbsup:

I'd rather understand each topic in theory previously mentioned rather than play around. I can never make anything good out of thin air.

Do you think you could point me to some links that discuss these topics?