17103 / 18210 · Workshop 122 — Building Your Personal Musical Language: How to Combine Harmony, Rhythm, Melody, Bass, Texture, and Form Without Sounding Like a Collection of Borrowed Styles← prev⊞ allnext →
122.2Example
Two composers both use:
F→Fm→C.
Composer A:
- dense gospel blocks
- melody tonic
- big crescendo
- root-position bass
Composer B:
- sparse two voices
- melody on 9
- no ritard
- bass A-A♭-G
- quiet ending
Same harmonic device.
Completely different identity.