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 Forum index » Discussion » Composition
Twelve-tone technique and the lack of harmonies
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mosc
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Joined: Jan 31, 2003
Posts: 18214
Location: Durham, NC
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PostPosted: Thu Jan 07, 2010 12:29 pm    Post subject: Reply with quote  Mark this post and the followings unread

Congrats, Steve. You got 100.

party time!

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my music and other stuff
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MusicMan11712



Joined: Aug 08, 2009
Posts: 1082
Location: Out scouting . . .

PostPosted: Tue Jan 12, 2010 3:27 am    Post subject: Reply with quote  Mark this post and the followings unread

Some footnotes:

When I found and posted the 12-ton rows, I had the vague impression that I had actually scored a piece based on these rows. Well, Sunday, I found the score and parts to "Gobzt" (including what I now seem to recall were probably teacher and classmate comments from the discussion afterwards--limited range, comments about dynamics, etc.).

A few days before finding the score, I had entered the basic rows in SONAR and started playing with them--re-doing them by repeating the rhythm of the first 6 notes of I and II -- ||: quarter note, two eighths, three triplet notes : || -- using all four rows. (Recently I have been appreciating the motivic compositions of Kevin Kissenger and thought I'd try something motivic using the 1-2-3 pattern.)

On top of this pattern I toyed with layering improvised slow-moving, lingering sounds following one of the rows with some success. This morning I searched my PC for Gobzt and found I had created a midi file of it around 1994-95. Its short--it runs a little under 2 minutes.

I am not sure if I can turn all this into a musically worthwhile 21st century ambient piece, but I just may give it a try. As for the question of harmony in 12-tone music, measure 11 of Gobzt consists of A C# and E across three of the parts. The rest is all over the place!

--Steve

PS: Thanks for noticing the 100, Howard! Very Happy
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x_x



Joined: May 05, 2008
Posts: 215
Location: mother earth
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PostPosted: Sun Feb 21, 2010 8:25 am    Post subject: Re: Limits off Reply with quote  Mark this post and the followings unread

aldanasjuan wrote:
My recomendation is that you take all of those systems, and all of those rules and remove your fear of creating something within boundaries and create whatever you want.


Yeah, I kind of agree with you. Rules have no chance against our intuition but I believe that in order to break the rules you must master the rules first.

My new composition teacher taught me a technique that he learned from Boulez. It's about using some "cells" and building a binary tree to build the form of the piece. And this little piece I'm composing I use the technique and then I do completely the opposite of the technique inspired on the Rhizome concept of Gilles Deleuze and Felix Guatarri. So the piece itself is about using the rules then breaking them. My composition teacher flipped out when I showed him the last part of the piece:

Posted Image, might have been reduced in size. Click Image to view fullscreen.

Laughing
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Acoustic Interloper



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PostPosted: Sun Feb 21, 2010 4:57 pm    Post subject: Reply with quote  Mark this post and the followings unread

Rules are simply patterns, often patterns that one can tailor.

Nice work on your pattern! flower

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x_x



Joined: May 05, 2008
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PostPosted: Mon Feb 22, 2010 12:47 am    Post subject: Reply with quote  Mark this post and the followings unread

Acoustic Interloper wrote:
Rules are simply patterns, often patterns that one can tailor.

Nice work on your pattern! flower


Yeah, thanks. lol. The meta-language actually is a bunch of math functions inside an iterative loop which eventually generates a series of patterns. But this is the last part of the piece and what this is breaking is the Boulez technique (an inverse musical-form-oriented deterministic finite-state automata)... This last part I did is interpretative on the most part. The first part is more objective and tailorable which then integrates with the last part and express the concept I'm trying to sketch.
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Hoskins-kin



Joined: Jan 14, 2014
Posts: 9
Location: Honeoye Fall, NY

PostPosted: Sat Jul 15, 2023 7:19 am    Post subject: Will Hoskins tonality experiments
Subject description: EM composer William B Hoskins experimented with 14 tone
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There are a few recordings at the Jacksonville University library of some of his experiments
    14-tone equal temperment
    14-ton work: seventh chords/scales
    14-tone work: scales cont'd

I think I might have some of his written notes on this as well.
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110



Joined: Nov 04, 2024
Posts: 1
Location: de

PostPosted: Mon Nov 04, 2024 8:28 pm    Post subject: Reply with quote  Mark this post and the followings unread

my schönberg sequencer module (custom software) does exactly that.

without even bothering about the question whether it can be legit to change the original concept i intuitively gave it 4 different inputs - and depending on which input you trigger it, it will output 1, 2, 3 or 4 notes at once.
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