Lesson 45 - Serialism
Part I Twelve-Tone Technique
The goal of Twelve-tone compositions is to give each pitch Equal importance. In other words to destroy the Dominant-Tonic relationship.
In order to compose a twelve-tone piece, one must first make a series of compositional choices. Prior to writing a piece, a composer creates a specific order in which the twelve pitch classes will be used (C-B chromatic scale).
The pitches in the preceding figure are numbered in the order that they appear in the piece.
Of course, the pitches can occur in any order
To build the Inverted row (The vertical rows), there are two methods.
1. Invert the intervals from pitch to pitch (E to G is a m3 up: a m3rd down from E is C#)
2. Invert the intervals as such: F to G is a M2nd up: a M2nd down from E flat is D flat)
Here is the completed prime inverted row:
RI0
1. The Rows from left to right are called the Prime rows
2. The Rows from right to left are called the Retrograde (backwards) rows
3. The Columns from top to bottom are called the Inversion rows
4. The Columns from bottom to top are called the retrograde inversion rows.
The Vertical rows (from bottom to top are called the retrograde inversion rows (meaning the Backwards inverted prime rows)
The next step is to assign names to all of the rows.
Before analyzing Twelve-tone music, you must first complete a matrix as I have done above. This is the matrix for Schoenberg's Op.25.
In order to compose a twelve-tone piece, one must first make a series of compositional choices. Prior to writing a piece, a composer creates a specific order in which the twelve pitch classes will be used (C-B chromatic scale).
Part II - The Tone Row
In order to compose a Serial piece, the composer must first construct a tone row. The tone row must use all pitches in a chromatic scale, but they may occur in any order. Here is a row from Schoenberg's Op.25 "Intermezzo."
Part III - the Matrix
THe original version of the matrix is known as the prime row, Shown here is an example of a prime row:
To build the Inverted row (The vertical rows), there are two methods.
1. Invert the intervals from pitch to pitch (E to G is a m3 up: a m3rd down from E is C#)
2. Invert the intervals as such: F to G is a M2nd up: a M2nd down from E flat is D flat)
Here is the completed prime inverted row:
1. The Rows from left to right are called the Prime rows
2. The Rows from right to left are called the Retrograde (backwards) rows
3. The Columns from top to bottom are called the Inversion rows
4. The Columns from bottom to top are called the retrograde inversion rows.
The Vertical rows (from bottom to top are called the retrograde inversion rows (meaning the Backwards inverted prime rows)
The next step is to assign names to all of the rows.
Before analyzing Twelve-tone music, you must first complete a matrix as I have done above. This is the matrix for Schoenberg's Op.25.
Part IV - Analyzing Twelve-tone Music.
After determining the tone row and completing the matrix for a composition, you can analyze the composition.Simply determine what row is being used and write the name of that row. For example, R7, or P3. Once all rows are represented, a piece is complete.
Part V - Total Serialization
This technique involves creating a second matrix for the duration and dynamics of the notes as well as a matrix for the order of the notes.
A total Serialization matrix would look similar to this:
The idea of serializing the pitch component of a piece led to later composers serializing other elements of their music, such as duration of notes and manner of attack.
