Schillinger Harmonization of a Diatonic Melody, Part 3/4 Chromatic Harmonization

This is Part 3 in a series on Harmonization of a Diatonic Melody, as discussed in Book 6 (The Correlation of Harmony and Melody), Chapter 3 from the Schillinger System of Musical Composition. This episode is about the chromatic harmonization approach. From the chromatic system of harmony we discuss essential elements, such as the single chromatic alteration operation, the parallel double operations, overlapping and coincidental chord groups. These techniques are demonstrated for the Part 1 diatonic melody opening measures. Then Part 2 diatonic harmonizations will be turned into chromatic harmony chord progressions in different keys and instrumental forms in various musical styles.

Contents:
00:00 Opening titles
00:30 Section 1 Introduction: what this video is about
01:21 Section 2 Subject overview and the diatonic melody
01:30 Section 2.1 Schillinger System of Musical Composition context
02:39 Section 2.2 The diatonic melody, pitch curve, resistance increasing techniques
03:43 Section 3 Chromatic harmonization fundamentals
04:03 Section 3.1 Alteration operations, chromatic chord groups
05:43 Section 3.2 Single chromatic operation for the (1,3,5) basis, various triad types
09:12 Section 3.3 Chromatic operations for the 7th chord, descending M7 and m7
10:18 Section 3.4 Parallel double chromatics, reverse direction for fundamental (1,5)
11:54 Section 3.5 Overlapping and coinciding chromatic chord groups, major and minor
13:14 Section 3.6.1 Chord progression in D major, operation types, voice leading
15:04 Section 3.6.2 Chord progression in A minor, operation types, voice leading
16:08 Section 4 Application to the diatonic melody, chord density and tension level
16:54 Section 4.1 Diatonic melody opening measures, harmonization in C major
19:43 Alternative harmonization in Em, Phrygian minor mode
21:42 Alternative harmonization in F major, high melody tension range
22:50 Section 4.2 Chromatic harmonization of the full melody, chords and instrumental form
23:17 Section 4.2.1 C major, strict approach, orchestral
25:36 Section 4.2.2 C major alternative solution, liberal approach
26:34 Section 4.2.3 C major alternative, brass quintet
27:57 Section 4.2.4 C major, high chordal functions, fusion jazz
28:58 Section 4.2.5 E minor mode, Phrygian, plagal cadence, liberal voice leading
30:43 Section 4.2.6 G Mixolydian, voice leading conflicts, fusion jazz
32:51 Section 4.2.7 C to Em, dense harmony, synthesisers and band
36:25 Summary and conclusion

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