4 Ways to Harmonize the Same Melody - Music Composition
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Date: 2022-03-28
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Comments and reviews: 10
Joseph
Thank you for these wonderful classes. They are very informative and useful. I absolutely love version 2 here, it-s simple but has depth and sincerity, without trying to be pushy. The relay between alto and tenor and how it resolves was beautiful. I would like to know how you would approach an arrangement for an instrument quartet vs SATB chorus, can the same arrangement work across different timbres, within a similar range.
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Thank you for these wonderful classes. They are very informative and useful. I absolutely love version 2 here, it-s simple but has depth and sincerity, without trying to be pushy. The relay between alto and tenor and how it resolves was beautiful. I would like to know how you would approach an arrangement for an instrument quartet vs SATB chorus, can the same arrangement work across different timbres, within a similar range.
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jamie
Great video as always. Apparently in Australia we also use the abc method of labelling inversions. I didn-t know this until recently as the only classical harmony book I had was by Walter Piston. I agree the British way is less confusing and quicker to understand. I might practice four part harmonisations by using melodies out of a Beatles song book and reharmonising them.
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Great video as always. Apparently in Australia we also use the abc method of labelling inversions. I didn-t know this until recently as the only classical harmony book I had was by Walter Piston. I agree the British way is less confusing and quicker to understand. I might practice four part harmonisations by using melodies out of a Beatles song book and reharmonising them.
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Herr
I've got a question: In example 2, first bar from beat 2 to beat 3 soprano and tenor both move downwards from a perfect octave to a perfect fifth. From my understanding that's a hidden parallel and should be avoided. Is this example some kind of exception? If so, why?
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I've got a question: In example 2, first bar from beat 2 to beat 3 soprano and tenor both move downwards from a perfect octave to a perfect fifth. From my understanding that's a hidden parallel and should be avoided. Is this example some kind of exception? If so, why?
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David
Gareth, I am been trying for far too many years to understand what is going on with the harmony in the song, 'If I fell', by the Beatles. I feel as though I have a harmonic blind-spot. Please help, when you can. Thank you so much for your work!
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Gareth, I am been trying for far too many years to understand what is going on with the harmony in the song, 'If I fell', by the Beatles. I feel as though I have a harmonic blind-spot. Please help, when you can. Thank you so much for your work!
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Filip
Thanks for the video. I have a question, I have no idea how to decide which inversion of the chord I should use in a particular situation. Any chances to make a video about that or point me to some basic guidance? Thank you very much!
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Thanks for the video. I have a question, I have no idea how to decide which inversion of the chord I should use in a particular situation. Any chances to make a video about that or point me to some basic guidance? Thank you very much!
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Calebe
My ears tell me that the example number one is the one I like the most. Number two is also good, but number one is better. Examples three and four sound very dissonant to my taste hehe.
Thank you for the lesson! It was great!
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My ears tell me that the example number one is the one I like the most. Number two is also good, but number one is better. Examples three and four sound very dissonant to my taste hehe.
Thank you for the lesson! It was great!
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Benedict
Nice .
The Cm in example 4 is actually borrowed from the parallel key Gm ( chord iv) .
The dim7 is viio7 c in Cm.
Seems a little strange Would be nice to.add the A to.Cm ( Cm6/ Eb or Am7b5/ Eb.. resolving on I c
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Nice .
The Cm in example 4 is actually borrowed from the parallel key Gm ( chord iv) .
The dim7 is viio7 c in Cm.
Seems a little strange Would be nice to.add the A to.Cm ( Cm6/ Eb or Am7b5/ Eb.. resolving on I c
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Geoff
in the first cord of the last bar could it be described as a gb5 + g6 and 2 x g9s? I probably haven't understood it properly! I think if this were to be true there would have to be a low g as the root
???
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in the first cord of the last bar could it be described as a gb5 + g6 and 2 x g9s? I probably haven't understood it properly! I think if this were to be true there would have to be a low g as the root
???
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Douglas
To my way of thinking, most songwriters don't approach their music in this analytical way. What they hear in their head is what becomes their song. Lennon and McCartney didn't know music theory.
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To my way of thinking, most songwriters don't approach their music in this analytical way. What they hear in their head is what becomes their song. Lennon and McCartney didn't know music theory.
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laffikdcaps
And if I fancy for a bit dissonance, it would go like this: bcd(III) gab(I) a(V) f#(III) g(I). This to keep quarter notes in third or fifth. Rarest in prime.
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And if I fancy for a bit dissonance, it would go like this: bcd(III) gab(I) a(V) f#(III) g(I). This to keep quarter notes in third or fifth. Rarest in prime.
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