Classical chord sequences

[Dave Cardwell]

Is there a good place to learn about classical harmony and chord sequences? I'm looking to put some of these kinds of ideas into my music. I'm thinking more along the lines of romantic and 20th century than Bach or Mozart.

[CSchlegel]

Is there a good place to learn about classical harmony and chord sequences?
The absolute best place is the music itself. Scores are very inexpensive nowdays from places like Dover Publications:
http://store.doverpublications.com/by-subject-music.html

Or if you are adept with a sequencer places like Classical Archives have MIDI files of all the great music from past eras:
http://www.classicalarchives.com/

Or you can search the web and turn up a ton of great sequences, too. You can also try:
http://www.musictheory.net/
http://www.tonalityguide.com/
http://www.schenkerguide.com/

I'm looking to put some of these kinds of ideas into my music. I'm thinking more along the lines of romantic and 20th century than Bach or Mozart.
How much do you already know about theory? The Romantic era composers built upon the ideas of the previous Baroque era (Bach & Mozart) as well as the Classical era. For example, the biggest single overall concept of goal-directed harmonic motion didn't really change from Baroque to Romantic. But the Romantics put their own twist on how that motion was accomplished. The basic functions of tonal theory didn't really change: dominant-tonic relationships, voice leading.

So a good understanding of these previous eras will not only help you understand the later ones, but in many cases it is almost impossible to understand without some of that knowledge.

It can be like trying to do calculus without first learning algebra. :)

[Dave Cardwell]

Thanks Christopher, those are some excellent websites. :) I'm going to be working with them for a while. I've been studying scores, which takes me forever since my reading is very slow and I've also been using the midi sequences too. I do know a good amount of music theory, just not that much compared to a conservatory trained composer for example.

I've just been looking for some classical chord sequences that don't sound stereotypically baroque.

Thanks again for the help. :D

[CSchlegel]

Thanks ... I'm going to be working with them for a while.
I wish you success with it. :)
I've been studying scores, which takes me forever since my reading is very slow and I've also been using the midi sequences too.
Good deal. Those really are the best places for learning. I certainly learned a lot from the books on theory. But there's no substitute for going out and buying the scores of Beethoven's complete piano sonatas, concertos & symphonies & closely studying them.

THAT is an education.
I do know a good amount of music theory ...
Very good. Continue to add to that knowledge.
I've just been looking for some classical chord sequences that don't sound stereotypically baroque.
The basics concepts are the same in all 3 eras: voice leading, counterpoint, functional tonal harmony.

The differences are largely of method and degree. Generally speaking, in Baroque there are fewer prolongations, fewer modulations (and limited to closely related keys), and more "crammed together" phrasing. For example, Bach might change chords 2 or 3 times in a measure, whereas Beethoven's compositions are typically more expansive. He might expand this to one chord used per measure or even over several bars. By the time you get to Liszt or Wagner you are sometimes dealing with whole phrases "within" one chord.

But all of them are still using the same basic ideas of dominant-tonic harmonic functions (& therefore chord progressions).

Typically Baroque modulates through one "degree of separtion" from the home key then back again. And even then only to relative major/minor, to the dominant, sub-dominant, submediant (Bach loved this move!). Beethoven & Haydn spearheaded (& perfected!) the process of modulating multiple degrees away from the home key (prolonging the resolution), through several distant keys before finally returning. The Romantics stretched this modulating/prolonging business to even greater extremes.

Often the "chords change" a lot in Baroque because of the heavy use of strict counterpoint. The Classical & Romantic eras still used counterpoint, but it was more "hidden in the music". There was much more emphasis placed on homophony, and the beauty of the melodic line.
Thanks again for the help. :D
Welcome.

[Kole_Music]

If your interested in learning music from the Romantic/20th Century period then I recommend you study these composers:

Brahms, Chopin, Tchaikovsky, Wagner, Stravinsky, Bartok, and Schoenburg. (Might have spelled a few wrong)

[Dave Cardwell]

Thanks to both of you. Very helpful. :)

[Paul Kleff]

Dave--when I was in school we used the Walter Piston book on harmony. It's pretty dense and deals primarily with baroque/classical as opposed to the later romantic era stuff. Unfortunately I no longer have my copy but they have it on amazon. And check out your local library, too.

http://www.amazon.com/Harmony-Fifth-Walter-Piston/dp/0393954803/ref=pd_bbs_sr_1/103-6518360-8826233?ie=UTF8&s=books&qid=1175867196&sr=8-1

[RobSm]

Is there a good place to learn about classical harmony and chord sequences? I'm looking to put some of these kinds of ideas into my music. I'm thinking more along the lines of romantic and 20th century than Bach or Mozart.

I suggest getting a copy of Bouree in Em by Bach, a pencil & paper and sit down & analyse it.

You'll love it!!

Now...when you're ready for jazz get a copy of Over the Rainbow and a copy of George Shearing's arrangement (he's a pianist) pencil & paper & analyse that!!

You'll love it.

Have fun.