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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.
It uses the modern major and minor keys to teach readers what to do to achieve good-sounding music based on the 12 tone music scale. It states the principle of the equivalence of octaves, the notions of the fundamental bass and the inversion of chords, the pre-eminence of the major triad and, at the cost of an intellectual contortion (one of ...
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).
Many of the notions were first elaborated by Howard Hanson (1960) in connection with tonal music, and then mostly developed in connection with atonal music by theorists such as Allen Forte (1973), drawing on the work in twelve-tone theory of Milton Babbitt. The concepts of set theory are very general and can be applied to tonal and atonal ...
The chromatic scale is a musical scale with twelve pitches, each a semitone, also known as a half-step, above or below its adjacent pitches. As a result, in 12-tone equal temperament (the most common tuning in Western music), the chromatic scale covers all 12 of the available pitches. Thus, there is only one chromatic scale.
Hexachordal combinatoriality is a concept in post-tonal theory that describes the combination of hexachords, often used in reference to the music of the Second Viennese school. In music that consistently utilizes all twelve chromatic tones (particularly twelve-tone and serial music ), the aggregate (collection of all 12 pitch classes) may be ...
Virtually all published works after 1953 (exceptions include his Mass, and the twelve-tone technique used rarely follows Schoenberg's system) Karlheinz Stockhausen Drei Lieder for alto voice and chamber orchestra, Nr. 1/10 (1950) [ 11 ]
This phenomenon gives rise to infinite shades of key-colors, which are lost in the modern standard version: 12-tone equal temperament (12-TET). Unlike meantone temperament, which alters the fifth to "temper out" the syntonic comma, 12-TET tempers out the Pythagorean comma, thus creating a cycle of fifths that repeats itself exactly after 12 steps.