My approach to harmony building

[kensuguro]

I thought it'd be interesting to do an overview of some of the different approaches I use to build harmonies. Vocal, strings, brass, 8 bit chiptunes, you name it, I use a similar approach for any thing that consists of individual voices. Obviously, it's based on traditional line writing, just organized in a more approachable way.

I didn't mention it in the VO, but basically the trick comes down to leaving, or "making" room for all the parts to move around in. You can see that I go:
(going from top to bottom parts)
part 1: melodic motion
part 2: harmonic function, doesn't move around too much, but prioritizes functional line over style
part 3: melodic motion, not quite as much as part 1, but still has some character

And if I were to put in a part 4, it would be similar to part 2, and would maintain harmonic function rather than go for an interesting line. You end up with 2 parts that have memorable lines (or "could"). Even if you had more parts, you probably won't need more than 2 parts doing memorable lines at the same time. (classic 2 voice counterpoint) The third guy could muddy things up. Especially with modern composing, where you have drums and synth parts and all sorts of busy stuff. Apart from the 2 guys doing memorable stuff, everyone else just fills in as either supporting one of the 2 memorable lines, or just reverting to a more "comping" style strategy where they're really just telling the listener what chord is being played.

In the demo I make the parts with a synth sound, and then play with strings, just to demonstrate how well it translates.

[Nestor]

Hi Ken!

It’s s pretty cool to my ears too. Now, in my understanding, anything you may do will be cool, as long as it represents what you are genuinely feeling. I mean, beyond “composition techniques”, I will never compromise what I feel or the expression of what I feel, for a technique. Now, of course, if you are just doing a job and need to go fast and so on, you can get carried away by this methods because you are not “feeling”, you are “working”, but if it is your own music, the best technique will be, today and forever, your heart.

By the way, congratulations for your amazing improvement in English language, there is a long, long way from the first audio I heard you speaking, a few years ago, and this one

[paulrmartin]

Hi Ken,

I believe you have to give more consideration to counterpoint (in the sense each melodic lines play against each other) because if you just add lines one on top of the other you can get lost in a big wall of notes. Your approach is definitely a good one. Are you going to talk about how dynamics add to harmonic flavor?

Paul

[Nestor]

I'm glad to read you back Paul, it has been a long time...

[kensuguro]

you're alive!

right.. counterpoint. I was going to do another one that focuses more on overall contour (like hourglass shape of range) of the harmony, and using counterpoint to create the range. Of course, the top vs bass counterpoint or the 2 part counterpoint not including the bass is among the repertoire.. but definitely harder to demonstrate in any immediately digestible form.

but of course, it seems things like this only pique the interest of the handful of guys who already know this stuff by heart. lol.

[David]

but of course, it seems things like this only pique the interest of the handful of guys who already know this stuff by heart. lol.

Thank you Ken
I do not know this stuff by heart
It is something I have only heard before
never seen it discussed and it is invaluable learning