Hi all! In this video, let's explore one of the sadder themes of John Williams, and what makes it so special. Please enjoy!
I really appreciate that Paul, thank you. It’s the classical wayAnother wonderful video. I really like your approach. Personally, I also relate to the roman numeral harmonic analysis. I am always amazed by those who doubt it's value.
I hope you continue making these wonderful videos.
Hi! Thank you. I only really know of 2 ways: analyzing using root quality chord symbols (C major), and Roman numerals. That's how I was taught in classical theory classes. In the case of composing, I would assume it typically goes how you'd describe it. Our inner ear leads us to chord progressions and melodies, and then we can go back later and analyze what we did. It's more rare to use theory solely to compose music.Nice video indeed.
I did a bit of Roman numeral analysis when taking some piano classes years ago. What other harmonic analysis types are there?
Also, how does one learn how to use these for composing? Usually I play stuff on the piano and when it sounds good I can analyze it and can somewhat understand why it works but I cannot go the other way around. When looking at these analysis videos I imagine Williams knows beforehand what chord he has to go or which key he has to modulate to so that everything works.
Well there's Neo-Reimannian, for instance. Roman Numeral analysis kind of stops working when you get to, say, Wagner's high romanticism, and the kinds of shimmery hollywood chords that it leads to that are more about relational effects the pure tonal functionality.I did a bit of Roman numeral analysis when taking some piano classes years ago. What other harmonic analysis types are there?
And (accessible) references on the later?There are quite a few harmonic analysis methods besides Roman numeral analysis. One particularly useful one for modal progressions is Riemannian functional analysis (not neo-), which downplays the specific Roman numeral and groups harmonies into functional families (Tonic, Subdominant, and Dominant) and analyzes the transformations applied to them from the basic form of those functions.
Schenkerian analysis and its derivatives (e.g. Salzer's linear analysis) are also extremely useful as they integrate contrapuntal analysis with harmonic analysis and teach people to hear ornamentation beyond non-harmonic tones. In my opinion, they are at least as useful as Neo-Riemannian analysis for Wagnerian "romantic harmony" and beyond.
Thanks! I've actually though about pickup up that book a number of times, but didn't really have a sense of what it's about. Definitely going on my wish list.Salzer extends Schenker's ideas even into post-tonal music. The classic for Salzer is his book Structural Hearing (at the time of writing, $4.29 used for the hardcover at the Amazon link). Admittedly, Salzer caught a fair amount of flak from music theorists in the 1980s and 1990s for the criteria needed to distinguish structurally deeper from structurally shallower tones outside of tonality. From a composer's standpoint, though, such objections are not necessarily signficant.
Edit: looks like PDFs of it are up on Scribd as well: Vol. 1 and Vol. 2