Creative Melodic Harmonisation in Different
Harmonic Idioms
Melodic harmonisation with constraints
Example
I – Bach Chorale melody
Bach Chorale
melody harmonised in the Bach Chorale style. Constraint chords are
indicated by asterisks. Different harmonic paths are generated due to
user-defined constraints resulting in different novel harmonisations
(voice leading manually adjusted).
No
constraints
Beginning
and ending chords constrained
Beginning,
middle and ending chords constrained
Middle
chord constrained
Example
II – Beethoven Theme
Beethoven’s
theme of the second movement of Ab major Sonata no. 8 is harmonised
using the Kostka-Payne learned harmonic idiom with and without
constraints (the version with constraints is much richer – constraint
chord indicated by boxes).
No constraints
User-defined
chord constraints shown in boxes
Melodic
harmonisations in diverse
harmonic styles
Example
I – Bach Chorale melody
First two
melodic phrases from J.S.Bach’s Chorale nr. 110
harmonised in a Renaisance modal chorale style, in medieval Fauxbourdon
style and, even, in the Epirus polyphonic song styles.
Modal Chorale style
Fauxbourdon style
Epirus polyphonic song style
Example
II –
traditional Greek
melody ‘Tou Kitsou i mana’
Fauxbourdon style
Bach Chorale style
Hindemith style
Example
III -
Gabriel Fauré:
Beginning of Sicilienne for cello and piano (op. 78)
Hindemith style
Jazz style
Additional selected
harmonisations of popular melodies in diverse
harmonic styles
- Melody of "Let it go" (soundtrack of "Frozen")
harmonised in the styles of:
- Bach chorales
- The Beatles
- Fauxbourdon
- Neotonal
- Whitacre
- The Melody of "Michelle" by The Beatles harmonised in the styles of:
- Kostka-Payne corpus
- Modal chorales
- Tango
- Jazz
- The Beatles
- The melody of the Tetris game (traditional Russian song "Korobeiniki") in the stlyles of:
