Twelve Tone Triads - How To Use Tone Rows In Your Soloing
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- čas přidán 9. 07. 2024
- In this episode I will explore a concept I have been using in playing and teaching teaching for years of using Twelve-Tone rows of triadic structures for composing and improvisation. The relationship of this concept to serial music is that you progress through all 12 tones of the chromatic scale before repeated any. This is not based on the Twelve-Tone theory that was pioneered by Arnold Schoenberg which will be a topic of future episodes.
I will show you some formulas you can use to play lines and write melodies like no one else. This is a great way to play sub changes in your jazz soloing.
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Really cool sounds here. Great idea!!
There is no possible way to describe my gratitude for this video. Thank you so much, I wanted to start getting into 12-tone patterns and you just gave the easiest approach!!
I love these concepts. I’ve just begun to study 12 tone serialism. Truly incredible stuff. Great video.
This is a very cool concept! Would love to see more videos on the twelve tone music and your approach. Thanks!
We all must be forever grateful for this man!! Never stop rick and thanks for so much
Man, these tone rows you mastered are really awesome. I'd heard these before but never seen them put into musical context (especially that linear jazz groove, that was an excellent way to convey this lesson's applicability) with an explanation and demonstration of how to play of how to play and voice them. I can't wait to incorporate them into some dense dissonant soloing... your channel is the real deal for people interested in theory or music in general.
please keep this coming.!!!!!!!!!!!!!!!!
Benjamin Britten was really into incorporating superficially tonal harmonic ideas into twelve-tone serial frameworks, as was Stravinsky in his later years. It's a really clever little trick that people seem to overlook far too often when talking about "atonal" music.
I remember when I was first studying 12 Tone Row and had to manually calculate and fill in the all the rows. What made it confusing was the fact that I didn't approach it with a fully open mind... but when I changed my mindset everything flowed. This is such a beautiful topic... Will take your compositions to another level.
Great stuff. I so like your approach, where no musical genre or school/system is off-limits. Few people have such an extensive knowledge of music and are able to use it like you do.
Hi Rick, just wanted to say thanks for all the great info. Just got the Beato book, keep doing awesome work man.
Great harmony,love it.Inspiring
Man this one was really blowing my mind! I can't wait to see the application to ear training.
Arnold Schoenberg invented this concept in the 1930s. And this jerk says he invented this concept. What a jerk. Lmao.
That's wonderful video, it is so inspiring!
I stumbled upon this 12-tone concept while working on Garzone's Triadic Chromatic system. I took a root major triad and moved every note a half step to create a first inversion minor triad. When I repeated the combination a half step from a different degree of the original pair and charted it all out I discovered all the notes on the grid chart were completely covered. I was calling them 12-tone pairs because on the Major and minor triad pairs the inversions were consistent on each 3 string set.(guitarist) Major Rt/Min1st - Maj1st/min2nd - Maj2nd/minRt. I'm glad I found this video to give me a broader look at it. Thank you!!
Great video Rick! Beautiful haunting harmony!
This is the most innteresting music in 12 tone concept, you are too awesome Sir 🙏🏻
Incredible lesson!!!! I'm gonna shed on this NOW!
I've been listening to music by Arnold Shceonberg, but I didn't know how to make the 12 tone system fit into my playing, until I watched this video. my goodness!
Thanks for doing this !
Great lesson! I love your piano style btw.
This is eerily similar to the kind of sounds you would hear in the opening segment of the TV show " Columbo " w/ Peter Falk, when the murder was taking place. Very cool, and ominous sounding. Thanks Rick, great stuff as usual.
Cuz in that era all the composers had studied under atonal'dodecaphonic masters and anything else was scoffed at.
Thanks for your videos, Rick :)
this is absolutely brilliant oh my god
still love your work!!
Hi Rick! Love your vids. Could you make a video about the modes of limited transpositions?
Useful info here. However, I think it doesn't fully address the challenge of keeping track of employing the 12 tones without repetition. I think it is important for improvisers to have thoroughly grounded knowledge of common tones among chords and how employment of particular scales can help obviate this. For example, the roots of your chords (C D E F# (or Gb) )spell the first four notes of a whole tone scale. The other whole tone scale's first four notes are Db Eb F G. The fifth and sixth note of the first type of whole tone scale are G# and A#, of the other type A and B. So one could create 4 triads just by ensuring one alternates between the two types of whole scales. As an example - C maj, E flat augmented, D flat augmented, G flat major - a progression that lends itself to a spicing up of something in or modulating to D flat or G flat major.
Another important scale which lends itself to 12-tone rows is the hexatonic scale which the first two chords of the four chord progression you gave contain the notes of a C hexatonic scale. A hexatonic scale is interesting as it already possess the minor-major mode alteration- for example note the two major minor chords in a C hexatonic scale: C-Eb-Enatural- G-G#-B. Like the whole tone scale it is a six note scale and you can get all 12 tones w/o duplication by transposing - in the case of the hexatonic scale a WHOLE step, the whole tone a HALF STEP.
amazing lesson
Something to keep in mind for my composition toolbox. I've used this in the past to form triads and semi tonal centers by splitting the tone row into polyphonic voices, and timing things so that lines frequently converge to triads, in other words, abusing the basic idea behind dodecophonic music, and feeling free to take liberties with the tone row at times. yes i know that sounds bad. What you're doing here is similar if I understand right. One thing that's interesting here, is that by the very nature of the tone row, no two consecutive chords have any common tones, which is the opposite of what is instinctual. But yet it works. probably the pedal bass helps.
I composed a piece in F major mostly, but many passages have this "twelve tone triad structure": F major (F,A,C), B minor (B, D, F#), Eb major (Eb,G,Bb) and C#minor (C#,E,G#) and you got it!
It was 4 years ago!
Hey can you explain what formula you used? I didn’t understand the formula rick explained here in the vid
This idea of encompassing the whole chromatic scale within 4 triads was known back in the 19th century - for example, have a listen to Bruckner's motet Locus Iste.
Which isn't to say that this isn't another great video! Vi Hart has also done a video on making 12 tone rows less atonal sounding - do you know it?
Thankyou. The row itself can be emotionally significant.But i rarely hear this in the Vienna school.I luv RogerSessions 1st piano sonata but the 1935vn.concerto after repeated listening over maybe 7years and 8th symphony is not provoking memory or emotion yet Boulez andWuorinen often excite me.
THANK YOU!!!!
Thank you I will get the book for my birthday present! 28 jan
Hi Rick, thank you very much for the video! How you did the comping of the example?
I think I hear a hit single 😂. I love Schoenberg. This is really cool 😎
I love you!!!
i thought of that a couple months back!
while I love listening to your take on stems, this is far more enlightening. Now I'm closer to figuring out Korn's harmonies ;)
thats dope
Wow!
Have you checked out George Garzones triadic chromatic approach?
Is the fast Cm-Dm-E-F# row (the one at 5:40) where you got your old "Everything Music" intro? It definitely sounds like it.
Hi Mr. Beato, I'm aware that you already have a whole list of topics for future videos, but I was wondering if György Ligeti is already on it. I'm very interested in his techniques.
Yes, Legeti is on the list :)
Looking forward to it!
Great Lesson! How can I learn the accents used? This style can also be used on the guitar. Very Prog. Would like to try that.
Can you give an example of chromatic mediants and how to use them?
Do a video on Soulja Boy's "Crank Dat", considered by many to be a modern masterpiece.
Scratch that. Do a live stream 12 tone reharm of Soulja Boy's "Crank Dat"!
Hi Rick, I really enjoy your videos :D
I was wondering if you are going to make a video on Francis Lai's Love Story Theme anytime soon...
Hi Mr. Beato, I just found your channel recently and I really love it. Please do a tutorial about how to write an orchestration for a rock band please? You know, the kind of Guns n Roses's November rain, Aerosmith's I don't wanna miss a thing etc. Thank you and please keep your educational videos coming.
Will do Noko!!
@@RickBeato Is the row played at 5:40 where your old intro came from? It definitely sounds like it, but at the same time feels too fast to tell.
Sounds like something Bill Evans played at the beginning of "So What"
What are you using for a piano sound?
What exactly are those chords in relation to each other in each of the examples given? That is one key thing I need to know and I'm square biz. Great vids, my g.
Good morning what are the chords in the left hand at 6:22 ?
Is there a video about dodecaphonism? If not, that would be great Rick.
Please help me to learn this for guitar and under stand it more theoretically
Alban Berg à déjà fait ça dans son Concerto pour violon "à la mémoire d'un ange".
Hi. I was wondering whether a system of scales that span over 2 octaves exists. Ex. C1 E1 G1 G#1 B1 C#2 D#2 E2 F#2 A2 C2. Thanks a lot for all that you keep posting. ☺
I know im 3 years late on this reply, but John Cage used a 23 tone row. The example in your comment doesn't depart from the 12 tone technique because of a concept known as octave equivalence. Plus all 12 tones are of equal importance despite the octave used. C1 E1 G1 functions exactly the same as C2 E2 G2. Register doesn't matter, a C is a C, An E is an E and so on. As far as a fixed scale like major or minor, there are many unique tuning systems from all over the world so it is possible that something like that exists.
WOW
Please correct if I'm wrong but doesn't Dsus2 and Flyd both have an A?
Awesome! This sounds like Chick Corea (. sorceress) . Dream Theater also
sir please explain the music techniques of A.R Rahman in your coming up video
where is this book?
Wow
Are there any ways of including the whole chromatic scale with 3 seventh chords?
Excluding reorderings and transpositions, there are only two collections of major and minor triads that work to cover the whole chromatic scale:C minor, D minor, E major, F# major (as in your video)C major, D major, E minor, F# minor
Yes, I will make a second video with that in it.
Oh man, if only I bought Beato Book I might know the answer to this and not sit in suspense until the video drops. Oh .. wait a minute. I DID! Page 263.
Haha! Thanks Greg!
There are. For instance CM7, DM7 and Bb7sus4. I'm sure there are tons of others...and cooler ones too :)
Cereal music or serial music ?
So.. more episodes on serial music coming?
these r priceless
Dude you have to give credit to Arnold Schoenberg who created the twelve tone method!
Thank you thank you thank you.
Actually no. This jerk says he invented this concept. Can you believe that. Lmao.
Rick meant he developed a system of 12 tone triads, not the 12 tone system.
It is sad that he would make such a statement given that all this was worked out before he was born.
Hauer was in the same city at the same time...what about credit to him
he should credit zhu zaiyu for inventing 12 tone et while he's at it
At 2:13, you play F sharp major over C minor, rather than what you subsequently demonstrate, which is F sharp major over C major...
;-)
A slip of the tongue at 4:27 - you play B diminished (correctly), but say B augmented...
Charles Gaskell I always do that by accident. I also reversed one of the E major and F sharp major chords too. I Did that on purpose to see if anyone would notice :)
Interesting that there actually isn't much audible difference between using C major and C minor in the sequence, even though if you use C major, you get E natural twice and E flat not at all.
Charles Gaskell Seppa said was based more on improvisational techniques than compositional techniques. Although, it can obviously be used for both. That's why the demonstrations were in a Jazz style.
Hi rick. Curious when you say F Lydian. How do you spell that chord? Is it a F triad with the #11?
An F Lydian triad is F B C
Rick Beato ah so no 3rd thanks! Great videos!
Justyn Rave so it would safe to asume that any "modal" triad, it's just the root, fifth and the important interval of the mode?
lydian = 1 #4 5
dorian = 1 5 6
aeolian = 1 5 b6
etc.
Can you play a chord with 12 notes in it? What would this chord be called?
Boggesh Zahim you can only play ten notes at once, unfortunately.
Chords with lots of notes next to each other are called tone clusters, I don't know of a specific name for one with all 12. Henry Cowell is probably the most famous composer for this technique (played by hitting the keyboard with the forearm), but clusters are used in many styles.
What does “F Lydian” mean? I’m not familiar with mode names to explain a triad!
It's not very common, but essentially it means replace the 3rd with the 4th. So, for example, Clyd would be C, F# and G. Cloc would be C, F and Gb and so on.
...and scientists think they work on tough stuff!
Have fun with Maxwell's equations the ;)
< ! Rick-O I LoVe this !¡! >
Isn't this basically George Garzone chromatic triadic approach?
Not really, the Garzone's method is wonderful but does not result in perfect 12 tone rows.
I can't watch this without laughing.
Is there an APP or calculator to know which triads give us the 12 tone rows?
You could use a pencil
On line there a few sites like that.
2:25 there's no E flat used ?
Good observation. I didnt even notice. He doubles the E natural. It's common to both C major and E major. I think he meant to use F# major over C minor. That would take care of the missing Eb. You probably realized that. I don't mean to insult your intelligence because I wouldn't have caught it if you didnt say anything in the first place.
Alban Berg Violin concerto.
YavinArba Gorgeous.
Thank you. This jerk says he invented this concept. JERK.
LMAO.
I've never heard chords called "F Lydian" before. I assume you're just talking about a sharp 11 altered chord then?
Riley Merino It's a triad consisting of tonic, sharp fourth and fifth
Riley Merino so a normal mayor or minor triad where you replace the third for a sharp 4
I thought the rule is to avoid major or minor 3rds.
must be born out of Rieman analysis?
And Dlyd and Bmaj both have an F#
Legacy Rick
Please see ALL OF RON JARZOMBEK videos and put in the notes as u r playing or group em if editing is a pain to insert individual notes...
We appreciate the content but for the content... And concepts.... Ron JARZOMBEK does it for us...
My brain hurts. 😖
Smells of Scriabin
Hey ! Your videos are interesting but your editing is disturbing ... Anyways, thanks for sharing your work :)
+Pablo Cortina Thanks? I'm a musician not a filmmaker :)
Anyone who thinks that 12-note rows can't have any "tonal" associations ever is just plain IGNORANT. Some of the earliest rows make use of triads. Yes they do... check out Berg's Violin Concerto if you don't believe me. Any one who suggests that 12-note rows are no longer relevant to teach students going through music training is just plain LAZY, and looking for a "system" (s)he can shovel by rote down their throats, collecting WAY too much money for doing NOTHING in the process.
I thought Arnold Schoenberg invented that concept. Lmao.
He actually said he invented this concept. What a jerk.
Did you read the description
Just take melody at it’s starting point and shift it through all 12 tones then worry about counter point and harmony .
This isn’t something new.