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The twelve-tone technique—also known as dodecaphony, twelve-tone serialism, and (in British usage) twelve-note composition—is a method of musical composition.The technique is a means of ensuring that all 12 notes of the chromatic scale are sounded equally often in a piece of music while preventing the emphasis of any one note [3] through the use of tone rows, orderings of the 12 pitch classes.
His 8 symphonies (see e.g. the article on Symphony No.1 (Op.33, 1958)) either use the twelve-tone technique, or serial techniques with other kinds of rows, or both [5] Lou Harrison. Rapunzel (1952) Symphony on G (1952) Josef Matthias Hauer. All works written after August 1919 (though the twelve-tone technique used is not Schoenberg's system)
Within the community of modern music, exactly what constituted serialism was also a matter of debate. The conventional English usage is that the word "serial" applies to all twelve-tone music, which is a subset of serial music, and it is this usage that is generally intended in reference works.
This is a technique used in music, specifically in twelve-tone technique, where the inversion and retrograde techniques are performed on the same tone row successively, "[t]he inversion of the prime series in reverse order from last pitch to first." [3] Basic row forms from Stravinsky's Requiem Canticles: [4] P R I IR
The Grandmother chord is an eleven-interval, twelve-note, invertible chord with all of the properties of the Mother chord. Additionally, the intervals are so arranged that they alternate odd and even intervals (counted by semitones) and that the odd intervals successively decrease by one whole-tone while the even intervals successively increase by one whole-tone. [13]
Other composers with atonal pieces include Harrison Birtwistle & Peter Maxwell Davies, [54] Jacob Druckman, Barbara Kolb, [55] Henry Cowell, Claude Debussy, Brian Ferneyhough, [56] Alexander Goehr, [57] Lou Harrison, Mårten Hagström, Paul Hindemith, Karel Husa, Charles Ives, György Ligeti, Witold Lutosławski, George Perle, [58] Sergei Prokofiev, David Raksin, [59] Nikolai Roslavets, [60 ...
In twelve-tone music, retrograde treatment of pitch is a commonplace, but rhythmic retrogrades are comparatively rare. Examples of rhythmic retrogrades occur in the music of Alban Berg, for example in the operas Wozzeck and Lulu, and in the Chamber Concerto. [29]
12-tone equal temperament chromatic scale on C, one full octave ascending, notated only with sharps. Play ascending and descending ⓘ. 12 equal temperament (12-ET) [a] is the musical system that divides the octave into 12 parts, all of which are equally tempered (equally spaced) on a logarithmic scale, with a ratio equal to the 12th root of 2 (≈ 1.05946).