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Topic: Tone row

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Twelve tone technique

Whole tone scale

Tetrachord

Musical composition

Serial music

Tonality

Atonality

Tone color

Musical tuning

Classical Music

Counterpoint

Texture (music)

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Musical form

	Tone row - Wikipedia, the free encyclopedia
		Tone rows are the basis of Arnold Schoenberg's twelve-tone technique and serial music.
		This tone row consists of alternating minor and major triads starting on the open strings of the violin, followed by a portion of an ascending whole tone scale.
		Tone row may also be used to describe other musical collections or scales such as in Arab music.
	en.wikipedia.org /wiki/Tone_row (399 words)

	Tone row
		In music, a tone row or note row is an arrangement of the twelve notes of the chromatic scale.
		The tone row consists of alternating minor and major triads starting on the open strings of the violin followed by a portion of an ascending whole-tone scale[?].
		A literary paralell of the tone row is found in Georges Perec's poems which use each of a particular set of letters only once.
	www.ebroadcast.com.au /lookup/encyclopedia/no/Note_row.html (266 words)

	Row - Wikipedia, the free encyclopedia
		Tone row, in music, a permutation, an arrangement or ordering, of the twelve notes of the chromatic scale.
		Watercraft rowing, rowing as a form of propulsion.
		Rowing exercise, structured exercise similar to rowing boats.
	en.wikipedia.org /wiki/Row (133 words)

	International Clarinet Association - ClarinetFest Archives
		A 12-tone row is a pattern containing all 12 notes of the chromatic scale, and is used as the foundation for both melody and harmony.
		In Smith's music, the row is always the first 12 different notes of the piece; in music by other composers, however, it may be necessary to resort to a guess-and-check method in order to find the row.
		The movement concludes with a final statement of the prime row (measures 29-33), altered slightly by large octave displacements and subtle changes in note values, although the underlying rhythmic pattern is the same.
	www.clarinet.org /fests/2000/Gibson.asp (1831 words)

	What Is "The Matrix"?
		Consistently atonal treatment of the row requires that no notes be doubled at the octave, tonal melodic or harmonic elements (intervals) are to be avoided, and no note should be sustained to the point where it becomes a focal pitch.
		The transpositions of the prime form of the row are labelled with the letter P and the pc number of the first pc in the row form (P0, P3, etc.).
		As this upside down and backwards presentation of a tone row is simply the inversion form in reverse, it is found on the matrix by reading the desired transposition of the inversion form backwards (from bottom to top).
	www.robertkelleyphd.com /12-tone.htm (3502 words)

	12 tone music (Site not responding. Last check: 2007-11-06)
		In row P1, the notes of P0 have been raised by one semitone and those in P2 have been raised another semitone (that means, P2 is a tone above P0).
		If all notes in a prime row were taken from the same octave, a move from a lower note to a higher note would become, in the inverted form, a move from a higher note to a lower one.
		The chosen row should be used to generate melodic and harmonic material according to a set of predetermined rules.
	www.duckmusic.free-online.co.uk /hatton/serial/partone.htm (1353 words)

	Tone Me (Site not responding. Last check: 2007-11-06)
		Twelve tone row (also called serial technique) is a technique that uses the twelve tones of the chromatic scale.
		The first appearance of the tone row is called the original form.
		This is the actual 12 tone row that is the main component of this composition.
	www.wpsweb.com /performingarts/BrownBagJazz/toneme.htm (1087 words)

	Compositional techniques of Milton Babbitt (Site not responding. Last check: 2007-11-06)
		On the contrary, it "serves as a source set from which other rows are derived." For example, the first hexachord is divided into four sets: 1) the 1st, 2nd, and 3rd notes; 2) the 2nd, 3rd, and 4th notes; 3) the 3rd, 4th, and 5th notes; 4) the 4th, 5th, and 6th notes.
		The first trichord is comprised of a transposed version of the 3rd, 4th and 5th notes of the "theme" hexachord, while the second trichord is composed of a transposition of the 2nd, 3rd and 4th notes of the for-mentioned hexachord.
		As discussed earlier, row 6 is comprised solely of the second and third adjacent note sets of the first "theme" hexachord (2nd, 3rd, and 4th notes and 3rd, 4th, and 5th notes, respectively).
	homepage.mac.com /coltvalenti/iblog/C631812141/E493713625 (2482 words)

	12-tone row generator - Page 3 - NI Forums
		Basically it's a tone row generator macro that lets you initialize an event table to a row with sequential values 1-12, and then permute these values to reorder, or retrograde order them (the code for exchaning table values could also be used to do a sort).
		Client tone row readers have buffers that get updated each time there is an init, permute, or retrograde, and the buffer goes live on a refresh signal, so you can update to the latest permutation at will.
		a tone row generator macro that lets you initialize an event table to a row with sequential values 1-12, and then permute these values to reorder, or retrograde order them (the code for exchaning table values could also be used to do a sort).
	www.native-instruments.com /forum/showthread.php?p=100042 (1738 words)

	MUS 312 Form & Analysis, Study Guide M
		Since the row serves as the source of the pitch material of a composition, one should analyze the row itself before beginning the analysis of the piece.
		Some rows use the first three, four, or six notes as a pattern from which the rest of the row is derived.
		The labeling of row forms and the consideration of the details of their use is only a part of the analysis of a serial composition, somewhat analogous to identifying the various tonalities of a tonal work.
	spider.georgetowncollege.edu /music/burnette/Mus312/312m.htm (2888 words)

	Istria on the Internet - Prominent Istrians - Luigi Dallapiccola
		In general terms, a 12-tone row is a string of notes that can be shaped, molded, and arranged into motives or themes.
		Rows can be can be presented singly or in combination; they can be transformed, concatenated, inverted (turned upside down), or reversed; they can be juxtaposed, superimposed, and intertwined.
		But Dallapiccola is equally fond of projecting rows as two-dimensional configurations; I call these "cross-partitions." The use of cross-partitions in his music has not been addressed, largely because theorists have not yet developed adequate tools for the analysis of such structures.
	www.istrianet.org /istria/illustri/dallapiccola/12-tone.htm (888 words)

	TWELVE-TONE COMPOSITION, Part One
		In reference to a twelve-tone row, "prime" means "original form," a different meaning than the "prime form" of an unordered set discussed in the previous chapter.
		The row in example 6 is organized in three tetrachords that suggest the keys of D minor, C minor, and C
		The abbreviations indicate various forms of the row (PØ= untransposed original, RI7 is the retrograde inversion at T7, R6 is the retrograde at T6, and I1 is the inversion at T1).
	jan.ucc.nau.edu /~krr2/12tone/12tone1.html (1797 words)

	Artistopia Music - Forums
		The tone row is chosen by the composer, and consists of all twelve different tones of the chromatic scale.
		Twelve tone composers choose their initial row of tones, and then draw up a grid or matrix which contains all the transpositions of the row, all the inversions, retrogrades and retrograde inversions.
		All twelve tones of the chromatic scale are used, and none are repeated.
	www.artistopia.com /Music-Forums/ReadThread.asp?forumid=4&threadid=1911 (1304 words)

	Introduction to Twelve-Tone Theory (Site not responding. Last check: 2007-11-06)
		A "series" is sometimes called a "set" or a "row." Beware of the potential for confusion when calling it a set (a set denotes a a collection without order and a 12-tone row, is, by definition, ordered).
		Retrograde inversion yields the mod-12 complement of the row in reverse.
		Another kind of invariance that might occur is when an operation causes a subset in the source row to appear in another part of the destination row.
	www.cwu.edu /~compose/PostTonal_4.html (762 words)

	Set Theory
		Schoenberg's purpose in his new compositional method of twelve tones was to supplant tonality with a new means of order, of which he approved calling "pantonality", and disproved of the term "atonality".
		The div of a row inversion (I) is determined by subtracting the prime (P) div from 12.
		Often Schoenberg would partition his row into segments of three or four notes apiece, and although the order from one segment to another was maintained, the ordering within each segment was juggled.
	solomonsmusic.net /setheor2.htm (3043 words)

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		Tone Row Poetry, however, is not an exercise in stochastics.
		Tone Row Poetry is in its essence control; I have left bits of the work open to chance, but the algorithm at its heart is very solid.
		While Tone Row Poetry could work as standalone software, it is this facet that places its utility smack in the middle of network politics.
	www.turbulence.org /Works/lacook/about.html (766 words)

	Short Info on 12-Tone - basmacioglu.com
		In general, the first note of the tone row is designated as number zero.
		Prime is an arrangement of the original tone row form and its other 11 transpositions.
		Arrange the order of the original row (P0) notes according to the numbers of the pitch class and enter the P0 row as numbers into the top row of the matrix.
	www.basmacioglu.com /index.php?dir=twlf&text=Short_Info_on_12-Tone (919 words)

	Music Associates of America ~ MadAminA! Reflections
		The real tone row of the first movement of the "Lyric Suite" is simply the cycle of perfect fifths, segmented into two halves of six notes each.
		The thematic tone row of the movement is only one among several special permutations of the background row.
		The basic tone row of "Lulu" is derived from the very same segmented perfect-fifth cycle.
	www.musicassociatesofamerica.com /madamina/1990/perle.html (1692 words)

	Cygnus Ensemble - Program Notes
		The deeper background notes (a single, all-interval symmetrical tone row is used for the deeper background) are four half notes in duration, scored for all six instruments (alto flute, English horn, both guitars, violin and cello), and marked mezzo forte.
		Each tone row is different (like snowflakes), however, each tone row symbolically offers the same message—“within me, the universe is contained” and “I am circular.” The “universe” is the completeness of all the tones and all the intervals within each tone row.
		The tone row ends on “B,” so the next occurrence can be linked by overlapping the last note with the first note, continuing the new tone row at the transposition of a major seventh.
	www.vocis.com /cygnus/pnotes.html (7641 words)

	Tone row
		A literary parallel of the tone row is found in
		Tone row may also be used to describe other musical collections or scales such as in
		Disclaimer: Uploading or downloading of copyrighted works without permission or authorization of the copyright holders may be illegal and subject to civil or criminal liability and penalties.
	www.mp3.fm /Tone_row.htm (276 words)

	Writing 12-tone Music - Terry Blackburn on the Web!
		First, a brief introduction to the concept for the uninitiated - 12 tone music, in it's simplest form, is created from a 'row' -- a random sequence of notes, each one different from any previous until all 12 notes of the chromatic scale have been used up.
		For example, if the first note of a row is G, and the second is B-flat (up a minor third), the inverted row would start with G, and it's second note would be E (down a minor third), and so on and so forth.
		The twelve tone row is a pile of musical refuse, a rigid and seemingly inflexible mold.
	www.terryblackburn.us /WildIdeas/12tone.htm (510 words)

	The Twelve-Tone Method of Musical Construction (Site not responding. Last check: 2007-11-06)
		There are various ways of arriving at a tone row and some rows are thought to have less potential than others.
		You may be interested to know that there are a great many possible tone rows.
		However, the relationships between various transpositions of the row are the same whatever version is deemed to be the original one.
	atschool.eduweb.co.uk /westonroad/musicnet/twelvetone_1.htm (719 words)

	Music 313 - Assignment 3 (Site not responding. Last check: 2007-11-06)
		Create a tone row that avoids tonal references (be sure to play/sing the row as you create it).
		Also, in the tone row matrix (using WordPerfect), add a 10% background fill to the cells in the rows/columns that identify versions of the tone row appearing in the music.
		Focus on the structural aspects of the row and how it is employed in the composition.
	www.upei.ca /~azinck/courses/music313/assignment3.html (607 words)

	Set Theory Glossary
		Quadrates are restricted to rows where the number of pcs equal the number of ordinal numbers, such as in twelve-tone rows.
		[s] a subset of a tone row that is used to generate the entire row through symmetric transformation, e.g., the G A# B example under derived set.
		However, each such row has four set forms and 48 transformations, and these do not sustain the original pc order; thus, it is not possible to maintain the original pc order in row composition.
	solomonsmusic.net /setgloss.htm (3865 words)

	Rotation, Stravinsky's Variations - J. Nagel
		If, however, a pitch class other than that found in the upper left corner is the common tone, then the diagonal is useless for demonstrating the location of all 48 rotationally-related row-forms beginning with the given common tone.
		In a "Double Elision" the penultimate note of the first row is the same as the first note of the second row, while the final note of the first row is the same as the second note of the second row.
		As the monodic section used rotationally-related row-forms beginning or ending on pitch-class 2 (D), which is the first note of the original row, the first six measures of Section VI use row-forms based on pitch-class 5 (F), which is the last note of the original row.
	www.jomarpress.com /nagel/articles/StravinskyVariations.html (4341 words)

	Stravinsky's Topology: CHAPTER 1 Introduction
		Transpositions of rows are calculated from the first note of the Prime row, where P-0 is the original untransposed row beginning on a named pitch, and P-1 is the row transposed up one half-step.
		The row proceeds until the twelfth pitch of the row is heard, after which the remaining pitches from the beginning of the row--in this case the first and second pitches of the row--are heard.
		Analysis with rows projected onto three-dimensional objects is only appropriate for works constructed with rows related to one another by the first and last notes of the Prime row.
	home.earthlink.net /~stravinsky/objects/01-introduction.htm (1811 words)

	A Study Of Musical Materials
		This means in the diatonic spectrum that rather than having, as in Example 1a, one cyclic 12-tone row (the cicle of perfect 5ths) which embodies twelve trnaspositions of one diatonic scale, in Example 1b one cyclic 12-tone row ('414') embodies four transpositions of three intrinsically related synthetic scales.
		I would like to move the 12-tone row into a background structural role (much like the 'circle of perfect 5ths' role in the traditional tonal-modal system) and then use the synthetic scales which are embedded in the row for the generation of musical ideas which can then be developed into musical compositions.
		By looking at a 12-tone row as a network of interlocking (synthetic) diatonic scales the orthodox 12-tone principles and rules no longer directly apply to the ordering of tones, but serve to delineate the natural tonal interrelationships that occur between the 12-tone row's twelve (synthetic) diatonic scales.
	www.ricksenterprises.com /ricks_americanchristband/essaymusicalmaterials.html (2120 words)

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