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Semelhante a Twelve Tone Technique for Music Composition
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Twelve Tone Technique for Music Composition
- 1. Serialism Variations for Piano Opus 27
- 4. Pre-compositional Factors Prime Row P0 = E, F, C#, E ♭ , C, D, G #, A, B ♭ , F #, G, B Example 1, Variations for Piano (Webern), Op. 27, No.1, Bars 1-4
- 5. Row permutations P0 = E, F, C#, E ♭ , C, D, G #, A, B ♭ , F #, G, B R0 = B, G, F #, B ♭, A, G #, D, C, E ♭, C#, F, E Example 2, Variations for Piano (Webern), Op. 27, No.1, Bars 1-10 P0 R0
- 6. Tone Row Matrix Prime Retrograde Inversion Retrograde Inversion
- 7. Webern’s use of symmetry Example 3, Variations for Piano (Webern), Op. 27, No.1, Bars 8-10 RI2 (B) E ♭, E C G , D, G # , C # C E, E♭ I2 F #, F A C #, D, G # , B ♭ A F, F # I2 = F #, F, A, G, B ♭ , G #, D, C#, C, E, E ♭, B RI2 = B, E ♭ , E, C, C #, D, G #, B ♭ , G, A, F, F #
- 8. Note order symmetry Example 4, Variations for Piano (Webern), Op. 27, No.1, Bars 35-36 R4 E ♭ , B, B ♭ D, C # C C # , D B♭, B, E♭ P4 (G #, A) F, G, E F # C F # E, G, F R4 = E ♭ , B, B ♭ , D, C #, C, F #, E, G, F, A, G # P4 = G #, A, F, G, E, F #, C, C #, D, B ♭ , B, E ♭
- 9. Symmetry - Palindrome Example 5, Variations for Piano (Webern), Op. 27, No.1, Bars 11-14 R0 P0 P0 R0
- 11. Pitch Class Chromatic Scale - E PC E F C # E ♭ C D G # A B ♭ F # G B RO 0 1 9 11 8 10 4 5 6 2 3 7 PC 7 3 2 6 5 4 10 8 11 9 1 0 PC B G F # B ♭ A G # D C E ♭ C # F E P0 0 1 2 3 4 5 6 7 8 9 10 11
- 12. Pitch class I7 B B ♭ D C, E ♭ C # 7 6 10 8, 11 9 RI7 E G # A F, F# G 0 4 5 1, 2 3 Example 6, Variations for Piano (Webern), Op. 27, No.1, Bars 19-21
- 13. Interval Class E - B = IC 5 IC = Interval class
- 15. First Movement Rows used within the first movement in the order in which they appear
- 16. Structure Interval classes of the rows within the first movement Upper stave Lower stave
Notas do Editor
- Serialism uses sets to describe musical elements and also the manipulation of those sets. The 12-tone technique is a form of serialism in which the notes used within the piece are structured and governed by rules.
- A great deal of thought would have gone into the Prime row, to ensure that Webern would be able to structure his music and get the desired atonal feel. It is worth pointing out that Webern had chosen to open the piece striking out E and F at the same time, by doing so making clear his intention for the piece to be atonal.
- In this example you can see how Webern has started to develop a canon using two different rows. (counterpoint)
- The tone matrix is used to show all of the available rows. Another way to show the row options would be to write them out individually on a stave, although this can be time consuming, as you need to write out 24 lines to get the 48 row options.
- Webern often used symmetry, giving his work motivic unity, though this is sometimes blurred by obscuring the melodic lines it can be found frequently within Op 27. There is an error in the order of Webern top row within the mirror section - the G and B ♭ are not in sequence. However, by ignoring the right hand chord and switching hands (where the treble cleff starts in the lower stave) the row error is removed. Similarly, the row starting in the lower hand (RI2), only works if it switches staves in bar 9. On the notated score within the appendix, moments where the rows swap staves are marked with the pink boxes.
- Indicators - Complement row - e.g. P0 & R0, I2 & RI2, P4 & R4 (as used in this example). The C is almost like a pivot.
- As shown earlier in the tone matrix, the reverse of R0 is P0. By running R0 and P0 consecutively, Webern is able to create a palindrome, albeit one that relies on the staves crossing. The result is two staves containing a set of notes which are the same backwards as they are fowards. Note: the register of the notes differs slightly. Another notable feature of this section is Webern’ use of timing, as it is also palindromic, despite the notes falling in differing parts of the bars.
- Axioms of music, based on things that are tangible, deemed as true
- Here the notes from the row I7 are given their pitch classification
- Up/Down are pitch class intervals. The higher figure is known as the complement, e.g. up from E - F is 1 semitone, but from F - E it is 11 semitones, the interval class is 1 and the complement is 11.
- There are 28 rows within the piece out of which 18 start on E flat, E, A flat, B Upper E (2), F # (2), B (2), B ♭(1), A (1), E ♭(4), A♭(1) Runs within the chosen rows A♭, A, B♭, B - E, F Lower B (3), E (2), B♭(2), A (1), E♭(1), D (1), A♭(4) Runs within the chosen rows D, E♭, E - A, B♭, B
- The interval class of 5 is significant as it indicates that the last note of the preceding row is the first note of the following row