Schillinger Harmonization of a Diatonic Melody, Part 2/4 Diatonic Harmonization

This is Part 2 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. We focus on the diatonic harmonization approach. Fundamental aspects, such as chord density, melody chordal functions and tension range, the selection of chord type, diatonic root cycles and voice leading are illustrated with ten short examples. Then five diatonic harmonizations of the full melody are shown as chord progressions in different modes and instrumental forms in various musical styles. There's a companion document with text, diagrams and score excerpts available in the webshop.

Contents:
00:00 Opening titles
00:30 Section 1 Introduction: what this video is about
01:25 Section 2 Overview and the diatonic melody
01:34 Section 2.1 Schillinger System of Musical Composition context
02:38 Section 2.2 The diatonic melody, pitch curve, resistance increasing techniques
03:48 Section 3 Harmonization fundamentals
04:06 Section 3.1 Chord density M|H, sparse or busy, fixed or variable
05:27 Section 3.2 Melody tension range and chordal functions, held notes
06:18 Section 3.3 Harmony root cycles, positive diatonic root movement
06:59 Section 3.4 Chord structure, dissonance handling
08:29 Section 3.5 Ten harmonization and voicing examples
08:36 Section 3.5.1 Examples 1-3, sparse, positive root cycles R3 and R5, chord S7
10:39 Section 3.5.2 Examples 4-6, higher chord density, variable melody tension range
12:58 Section 3.5.3 Examples 7-8, fixed M|2H, chord structure S9 and S11
14:51 Section 3.5.4 Examples 9-10, variable M|H, S9, busy harmonization
16:22 Section 4 Diatonic harmonization examples, chord progression and instrumental form
16:44 Section 4.1 DH in C major, classical music, oboe and strings
20:07 Section 4.2 DH in G Mixolydian, late Renaissance, solo harpsichord
22:52 Section 4.3 DH in E minor, Phrygian mode, classical music, woodwind quintet
25:13 Section 4.4 DH in E minor, alternative instrumental form, reggae shuffle
27:58 Section 4.5 DH in E minor, plagal cadence, contemporary electronic style
34:45 Summary and conclusion

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