Consolación III

Hello.

My chronological journey of music brought me to Romanticism, in which I have been immersed for months. I study its methods, harmonies, etc... And that has led me to study also the neo-Riemannian theory, since many chord progressions are explained through it.

I write some things practicing these concepts. This Consolation III (as there were two others already) is very much inspired by Liszt's, in its structure and some resources. I have also based it on a pop song whose harmony is fantastic. You have to absorb from all sources....

2 hours ago, Luis Hernández said:

I have also based it on a pop song whose harmony is fantastic. You have to absorb from all sources....

There is much wisdom in these words. 

The music is great as usual. Harmonic curveballs kept the static texture interesting for me. I particularly liked the dominant root in the IV chord. TIL 🙂 

I really enjoyed it very much! Specially the beginning and the part starting in 2:17 where you changed the texture for a little bit and the nice tremolo at the ending for going back to the previous texture. 

I am also really interested in neo-Riemannian theory and I bought a book called "audacious euphony" that is supposed to be really good for learning it, but I still could not start studying it. Your videos are always particularly helpful because you even write the chords so they can be used as learning material as well!

Nice piece!

45 minutes ago, JorgeDavid said:

I really enjoyed it very much! Specially the beginning and the part starting in 2:17 where you changed the texture for a little bit and the nice tremolo at the ending for going back to the previous texture. 

I am also really interested in neo-Riemannian theory and I bought a book called "audacious euphony" that is supposed to be really good for learning it, but I still could not start studying it. Your videos are always particularly helpful because you even write the chords so they can be used as learning material as well!

Nice piece!

 

I thought that this neo-Riemannian theory was just one more theoretical brain teaser. And I love contemporary music and its mechanisms.
Although this theory really describes things that happened already in romanticism and explains many progressions that have no place in a functional tonal scheme.

But when I got serious about it, I discovered that it is not only a method of analysis that allows you to understand certain works or passages, but it is also a tool for composition because you can learn to connect harmonies that, in another field, seem unthinkable.

Hey Luis,

This one is very enjoyable to listen to, I’m to the point of almost listening this soothing music! It seems simple with the texture but the harmonic colour is nice.

14 minutes ago, Luis Hernández said:

But when I got serious about it, I discovered that it is not only a method of analysis that allows you to understand certain works or passages, but it is also a tool for composition because you can learn to connect harmonies that, in another field, seem unthinkable.

I’m in an opposite approach as I never think of any theory when composing. Maybe one day I should write a Schenkerian joke when the Ursatz 3-2-1 looks ordinary but it’s in a totally different in 99% of time.

Thx for sharing!

Henry

@Henry Ng Tsz Kiu

Thank you for listening and commenting.

I agree with you. There comes a time, or should come, when one does not think about theories, it is true.
But I do think that knowing what happens in works that one likes helps to develop paths that otherwise remain half “hidden” to oneself.

5 hours ago, Luis Hernández said:

I thought that this neo-Riemannian theory was just one more theoretical brain teaser. And I love contemporary music and its mechanisms.
Although this theory really describes things that happened already in romanticism and explains many progressions that have no place in a functional tonal scheme.

But when I got serious about it, I discovered that it is not only a method of analysis that allows you to understand certain works or passages, but it is also a tool for composition because you can learn to connect harmonies that, in another field, seem unthinkable.

I totally agree. I became interested as soon as I learned a little bit about the main concept behind it about the understanding of how chords are connected through voice leading based on "number of voices moving" and "number of total steps", and how it applies to connecting chords that seem to be, otherwise, unrelated to each other. I am glad to know that you think it is a really useful tool to have!

However, it was quite "theory-intensive" so that is why I had to put it aside for some time. As soon as I have some vacation I should spend a few weeks focusing on learning it!