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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.
A 12-tone row has hexachordal combinatoriality with another 12-tone row if their respective first (as well as second, because a 12-tone row itself forms an aggregate by definition) hexachords form an aggregate. There are four main types of combinatoriality. A hexachord may be: Prime combinatorial (transposition) Retrograde combinatorial
"Mirror forms", P, R, I, and RI, of a tone row (from Arnold Schoenberg's Variations for Orchestra Op. 31, "Called mirror forms because...they are identical". [1]In music, a tone row or note row (German: Reihe or Tonreihe), also series or set, [2] is a non-repetitive ordering of a set of pitch-classes, typically of the twelve notes in musical set theory of the chromatic scale, though both ...
D harmonic minor & in the inverted row-form added-sixth chord with both major and minor third : I: 0 t 9 7 5 4 1 8 6 2 4 e: P: 0 2 3 6 8 t 5 7 9 e 1 4: 2 1 3 2 2 5 2 2 2 2 3: Ernst Krenek: Lamentatio Jeremiae Prophetae, Op. 93, row 2 [18] 1940–41 6-34: 6-34: RI-symmetry I: 0 t 9 6 4 2 7 5 3 1 e 8: P: 0 2 4 5 8 t 6 7 9 e 1 3
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]
Principal forms of Webern's tone row from movement 1. [9] The first simultaneous pairing of row forms is P1 and R8, and as with the principal forms, each hexachord fills in a chromatic fourth, with B as the pivot (end of P1 and beginning of IR8), and thus linked by the prominent tritone in the center of the row. [10]
Because there are tonal chord progressions that use all twelve notes, it is possible to create pitch rows with very strong tonal implications, and even to write tonal music using twelve-tone technique. Most tone rows contain subsets that can imply a pitch center; a composer can create music centered on one or more of the row's constituent ...
Other theorists, such as Allen Forte, further developed the theory for analyzing atonal music, [3] drawing on the twelve-tone theory of Milton Babbitt. The concepts of musical set theory are very general and can be applied to tonal and atonal styles in any equal temperament tuning system, and to some extent more generally than that.