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Found 20 results

  1. Hello ! Recently, reading the book of Caplin (Analysing classical form) evaded cadences caught my attention. I found amazing the effect you get by using this cadence in the right place. Do you use evaded cadences in your pieces? I started adding them consciously and I take (as usual...) Haydn and Mozart works as my references. Here a very useful to understand the evaded cadence: https://www.piano-composer-teacher-london.co.uk/post/evaded-cadences
  2. Lately, there has been a proliferation of tutorials and videos on you tube about "negative harmony" or "mirror harmony", most of them say nothing. Because..., yes, it's easy to understand the concept, but how the hell to use it? Given a melody and harmony we can obtain their mirror versions... What can we do with them? I haven't found anything about it. I have some experience developing harmonic and melodic systems from any given scale, and I wanted to try with an example. I'm not going to explain anything about this kind of harmonies, only saying it is based on mirrored notes (
  3. This is a work for SATB Choir and Piano that I wrote in 2017 for a competition. It's a moving work, and I would love to see it performed someday.
  4. Hi all! It's been a while since I've been on... and I'm returning with a question about Fux's counterpoint from Alfred Mann's The Study of Counterpoint: Are the solutions to each of Aloysius' examples (with corrections) the only acceptable solutions? In attempting to complete the very first exercise (first species counterpoint on the given cantus firmus, in the bottom voice, in dorian mode), I find there are good reasons to rule out most of the consonances that could be considered. However, I don't know if there are hard and fast rules which make the answers that Joseph gives the
  5. Greetings. When I start to compose a piece, I start writing the melody, usually for instruments like flute or violin. Then, when writing melody is done, I start thinking of orchestration and arrangement. I usually harmonize violins like this : Violin I plays the melody I wrote, Violin II plays the same melody one octave lower (and when musescore or other software warns me about notes which are not on the instrument, I just replace them with rests). But, when It comes to other instruments, like Cellos, or Violas, or any other instrument, I really don't know what should I do.
  6. Hello! Can you guys help me to figure out what harmonies are used in bar 4th, 16th and 36th? music sheet audio This is the full analysis if you want to check it as well (question marks where I couldn't identify the harmony) F dorian mode A bar 1 to 12: I - I - V35 - ? x4 B (bar 17 to 32) I46 - IV7 - VII46 - V46 x4 but bar 32: VII36 C bar 33 to 44: IV46 - IV34 - III - ? x3 bar 45 to 48: II - II - IV34 - IV46 Thank you!
  7. This is my assignment for Monarcheon's masterclass, THEORY 202: Adv. Harmonic Extensions.
  8. Instructor: @Monarcheon Students Allowing: 5 Initial Writing Requirement: 16 - 32 bars, piano or harp Special Requirement: Must include 3 of the 4 harmonic functions below Initial Writing Requirement Deadline: April 8th Masterclass No. 3 will the first in a series of two classes on basic harmonic extensions: *Italian Augmented Sixth Chord *French Augmented Sixth Chord *German Augmented Sixth Chord *Neapolitan Sixth Chords Basic Guidelines: Augmented Sixth chords are used, typically as a way to create maximum harmonic tension before resolving to the dominant.
  9. Hi Bearing in mind the 12 semitones of the scale (no microtones) and excluding transpositions, the number of possible scales/modes are: 2E11 = 2048 This brings the possibility of building 2048 different harmonic systems. I don't mean using scales as improvistion tools over some chords. I mean using any scale to build chords from it (by thirds, but also by seconds, fourths, fifths, hybrids, etc...) and use them to harmonize whan we are composing. Even only ONE note may grow to a harmonic system. See Ligeti's Musica Ricercata (the first piece is built only with a note: A
  10. This is quite an old piece -- approximately a year old; it is relatively short and simple, and it relies primarily on the harmony, as opposed to a melody. {{I realized the continuo-parts (guitar and harpsichord) myself}} Nonetheless, I think it is a fair piece of music myself, and I thought I should share it. Let me know what you think, and do remember this is from a while ago! :)
  11. So, when I first started theory I was told that retrograde (movement from a dominant function chord to a pre-dominant function chord) was strictly forbidden in common practice harmony. However, while working through Hindemith's "Traditional Harmony" I found that several of Hindemith's prescribed progressions in the exercises have retrograde progressions. So, is retrograde strictly forbidden? Are there exceptions? Am I just stupid? Discuss.
  12. Hi all! In 4 part harmony, moving by an Augmented Second is considered dissonant, even if the interval of 3 semitones is considered consonant. My question is : The dissonance of an augmented second is relative to the musical scale used ? Let's say an E harmonic minor scale for example: If I move a voice from C to D#, it would be dissonant because I'm moving through an Augmented second. But if I leap from E to G, it would be less dissonant because this time I'm using a minor third, even if the number of semitones remains the same (3) . Is this right, if not can someone
  13. Some harmony exercises from an old music notebook. They belong to an elementary level course and deal with simple Renaissance harmony, so I thought they could be interesting and amusing to do for beginners here (of course, harmonizations in more advanced styles could be done). The exercises are actual Renaissance villancicos from Spanish cancioneros. We were given the top line and were asked to complete a four part harmony following rules from the Renaissance era (if you are not familiar with Renaissance harmony and want to try that style, I can give you some guidelines and pointers). The
  14. So I'm new here, and relatively new to harmonic analysis. I was in the process of studying some old hymns, and ran across a chord I simply can't figure out. It has me stumped. The one that has me stumped is the first beat of the last measure in this selection (which I've uploaded as a pdf). The hymn is obviously in the key of Bb major,and all the other chords are easily identifiable, but what roman numeral should be given to a chord of Eb Bb G and C? Is the C just a non-chord tone? Any ideas? I feel kind of silly not knowing, since the answer is probably a simple one, but I guess the only wa
  15. Hi, I'm new here, so forgive me if I'm doing something wrong. I'm writing a sonata-form movement in Romantic style (Schubert, Brahms...). I've written: 1st theme (8+8 bars), ending on i (G min) transition (G min >> Eb) 8 bars of the 2nd theme (starts at bar 57), ending on V (Bb major chord) However, I'm stuck here. :dunno: I've just moved from a classical to a romantic style, and the proportions are bigger. I know I should write something looser and more lyrical here, and it should be roughly 50-60 bars long for balance. I could use more than 1 theme (?), and perfect cadence
  16. Fair warning: this post might get a bit technical. I really like thinking about music theory, but I don't know very many people I can discuss it with. Some time back, I came across the following website, which really changed the way I think about harmony and its relation to musical structure (we're talking mostly tonal CPP music). I'm wondering whether anyone else has seen this before, or is interested in taking a look at it. The site is www.harmony.org.uk by Tom Sutcliffe. It outlines a thesis he has developed (and a corresponding unfinished ebook, Syntactic Structures in Music) which loosel
  17. Hi everybody! :thumbsup: Are there compositions where tuba and cello play together (as in playing the exact same notes at the exact same time, not counterpoint or duet), providing harmony for a melody-playing instrument like violin? Both cello and tuba have a bass sound, so is it logical that they provide good balance for a high-pitched violin or flute? Thanks, El
  18. Hello everyone, I need some help and/or recommended resources/links when it comes to the topics mentioned above, thank you for your time! =)
  19. I am working on a composition but it has barely this chords: C, C aug, Dm, G, G aug; and in very short parts: Em Fm and Am. And little variations. The composition is for piano, written in the key of C major, and I am worried that most of the composition is repeating the C and D chords with little variations. Is this wrong? Is this of bad taste? Is this monotone? What do you think of the harmony in this cases? Thank you for your help.
  20. Hey everyone, I just wrote a book called, Cello Chords, which is a guide to harmony on the cello. It covers 11 different types of chords in all 12 keys and is an excellent resource for exploring all different types of music on the cello. You can check it out and purchase it here: www.bryanwilsoncello.com/cello-chords. Thanks guys!
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