Neutral and Thematic Melodic Figuration in the Schillinger System of Musical Composition

This is the most versatile form of melodic figuration in the Schillinger System, using suspensions, anticipations, passing and auxiliary tones in a given harmonic continuity.
There are two approaches: neutral and thematic figuration. In neutral melodic figuration you may use preliminary planning of the part sequence. In thematic figuration we discern constant vs. variable chordal functions. All techniques are demonstrated with examples in the diatonic and diatonic-symmetric harmony system. There's a companion document with text, diagrams and score excerpts available in the webshop.

Contents:
00:00 Opening titles
00:29 Section 1 Introduction: what this video is about
00:59 Section 2 Melodic Figuration in the Schillinger System, leading tones, harmonic continuity
06:17 Section 3 Neutral Melodic Figuration
06:40 Section 3.1 Without preliminary voice sequence planning
07:03 Example in G major, free application of leading tones to harmony, string quartet
08:37 Section 3.2 With preliminary voice sequence planning
08:57 Example in G major with preliminary planning of the sequence of parts, jazz trio
09:56 Section 4 Thematic Melodic Figuration, motif from set of chordal functions
10:17 Section 4.1 Constant chordal function, open position voicing
12:03 Example in C Mixolydian, chordal functions 135, voice leading, wind quintet
13:29 Example in C Mixolydian, chordal functions 1357, ambient, fusion music texture
15:00 Example in C Mixolydian, chordal functions 579, synthesizer, electronic music
16:43 Section 4.2 Variable chordal function
17:20 Example in G Aeolian, single motif, solo piano
20:28 Example diatonic-symmetric harmony in C, two motifs, orchestral
26:33 Summary and conclusion

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