as already reported in another thread, in my own small way I have written a harmony course (freely downloadable for free from LULU.com, search for "imparare la musica con armonia"), if you don't have a harmony teacher or don't already attend courses, you can take a look at it and eventually send me the exercises for corrections (naturally always for free)
Thanks, for harmony manuals I use Piston and Dubois ... so I think the real difficulty is ear training. In the sense that here one is required to decipher harmonies, which don't seem very simple to me, by ear...
Does your method also include a part dedicated to recognizing chords by ear? Regarding the form, I think it requires a dose of experience that I do not have
If I were in need of corrections for exercises, I will take advantage of your availability... eventually I will post something in this section which I think you will already know:
Ok Classic... let's just say that due to time constraints, I am also already struggling to follow the forum... for me, relying on other sources would be too distracting.
Basically, the exercises I usually do, I take from Piston; as for Antares, I find several things in Dubois convenient. Do you know it?
I know various theory texts including the Dubois si.... and I don't particularly like it, especially how it treats parallelisms.... it is too restrictive.... and other things as well....
I had started with Dionisi (it was for complementary harmony) and then I seem to have used Dubois specifically (35 years have passed!) but the important thing is the teacher; mine was in turn a pupil of Bettinelli...
anyway, harmony is like learning to ride a bicycle: you learn it once and that's it, it's not that you have to keep consulting manuals, it's not a dictionary to check verbs or synonyms, naturally IMHO
it is about "making your own" a series of "rules" and then there is a certain freedom of action; we are in the 21st century and there are still people who have problems using solutions that perhaps Bach practiced habitually—maybe they were just passing notes but they gave "new" sensations and colors; now don't ask me which passages, but anyway the idea is that music must convey a "freshness" of solutions...
PS I did it in a hurry, let's hope there aren't too many mistakes!!!!
It seems well-balanced to me with a beautiful melody.
To go into details, a few (slight) doubts:
- halfway through the chorus the 5ths RE-LA DO-SOL (even if it is a passing note), likewise in the 4th measure SI-FA# DO-SOL (and the C chord sounds a bit empty without the 3rd which only arrives later)
- some 7ths and 9ths without preparation (but it's fine like this too)
I agree with Classic. Only one thing, I would tie the horn to the beat between measures 6 and 7 in order to create the subsequent melodic figure on the upbeat (more interesting) and close on a G, sacrificing the fifth of the chord... the line becomes much more singable. Practically, the horn would play E D F# G
I like PuntoCoronato's, very orderly and intelligible.
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puntocoronato
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Reply 50 by puntocoronato
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classic wrote:
It seems well balanced to me with a beautiful melody.
To go into details, a few (slight) doubts:
- halfway through the chorus, the 5ths D-A C-G (even if it is a passing note), likewise in the 4th measure B-F# C-G (and the C chord sounds a bit empty without the 3rd which only arrives later)
- some 7ths and 9ths without preparation (but it's fine like this too)
congratulations Ambrogio
Thank you for your interest. Those 5ths escaped me; you were right to point them out to me, they are 5ths in every sense!
If you can, please also point out the measures where there are 7ths and 9ths without preparation, because these moments are moments of musical growth for me since I am still studying... Thank you
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puntocoronato
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Reply 51 by puntocoronato
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AbateFaria wrote:
@Puntocoronato
I agree with Classic. Only one thing, I would slur the horn between measures 6 and 7 in order to create the subsequent melodic figure on the upbeat (more interesting) and close on a G, sacrificing the fifth of the chord... the line becomes much more singable. Practically, the horn would play E D F# G
The slur between measures 6 and 7 is an oversight! Instead, thank you for the advice regarding the suppression of the 5th; you are right. I did it that way not thinking about singability, but since the descending resolution of the 3rd to the 5th of the chord is correct and is not an error, I did it. Thanks again.
@Frank in any case the whole theme is Clara's.... not the bass, probably that was by Friedrich Wieck as a basso d'armonia I imagine....
To tell you the truth:
Robert Schumann composed the Impromptus Op. 5 in 1833, when he met Clara Wieck, daughter of his piano teacher and his future consort. Although one cannot speak of love between the two just yet, one can be certain of their common interest in music. At the time, the young pianist and composer was 14 years old and had just composed a Romance variée (op. 3), building the theme on a bass provided to her by Robert.
In turn, he wrote a series of "improvvisati" [improvisations], which are in fact 10 variations on the melody of that Romance, giving them as a gift to her father for his birthday.
I hope it's the right link, I can't check right now
Robert Schumann composed the Impromptus Op. 5 in 1833, when he met Clara Wieck, daughter of his piano teacher and his future consort. Although one cannot speak of love between the two just yet, one can be certain of their common interest in music. At the time, the young pianist and composer was 14 years old and had just composed a Romance variée (op. 3), building the theme on a bass provided to her by Robert.
In turn, he wrote a series of "improvisations," which are in fact 10 variations on the melody of that Romance, giving them as a gift to her father for his birthday.
I hope it's the right link, I can't check right now
Clara Schumann Romance varié (op. 3)
Op.3 - Romance Variee for Piano (1831-33)
http://www.youtube.com/watch?v=qit0htKEPhI
ok is a big mess ahahahahahahah I must find this score by Clara... I am curious
Evolutions over time... once music was given to the future father-in-law, then a few centuries later (but several decades ago) sacks of potatoes... nowadays people tend not to get married, they just "pair up"
