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Twelve-tone Chords with Minimum Tension
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12TONECHORDS, MY VERY FAVORITE ONE. :) COOL! THANK YOU.
@scothebert6366 You're welcome. I'm sure you are aware that the chords discussed in the video are a subset from all possible twelve-tone chords, and with specific characteristics. Thanks for the feedback.
This was a remarkable demonstration of the use of the SSoMC. Thank you!!!
You're welcome. The video content is a combination of the SSoMC approach to writing orchestral textures in layers (strata technique, instrumental forms) and using harmonic source material from 12-tone idiom. Hopefully you got something useful out of it.
Yes, I am familiar with the basics of twelve-tone composition. I am used to starting with the row and deriving harmonic structures therefrom. In this case, you began with 6 consonant harmonic structures then introduced SSoMC techniques to turn those structures into a continuity. I was impressed by the musicality of the resulting compositions the strata technique was able to inspire.
Unfortunately, not many composers stamp their work with (Schillinger inside :) ) and I have found most of the teaching examples are usually dry and uninteresting. It was illustrative to see how you crafted that huge, beautiful sound. Thank you again, I will stay tuned.
I love WL. I first discovered him about 20 years ago. I also read the CBR book, which is totally fantastic. I bought another book recently called Conversations With WL, but I have not started it yet . . .
@monsterjazzlicks Thanks for the feedback. Obviously I agree the Charles Bodman Rae is a most insightful book on Lutoslawski's music. I can't remember to what degree the Conversations book adds to that knowledge (I don't own a copy; have seen it in bookshops quite a while ago).
@@FransAbsil I think it was published under Chester Music.
@@FransAbsil At college all of the students called him Ray Charles!!! lol
@monsterjazzlicks How most disrespectful ;-) No Batman Rays?
@@FransAbsil - CBR's pet-hate was (the frequency of students) misspelling: RYTHM, or RHYTM. It's actually quite shocking how many degree pupils continuously made this unforgivable error!
Amazing thank you!
Thanks for the feedback. Good to hear that as a producer you found something useful and hopefully inspiring on this channel. Good luck with your creative work.
Yes. Very useful. I aspire to be a great composer one day. Unfortunately, I am quite far off from that goal but videos like these help me get one step closer. Thanks again, all my best!
Your example reminds me of Stravinsky
@coreylapinas1000 In order to reply to this comment I had to replay my own example from quite a while ago (memory failing). I studied the book 'Stravinsky's Late Music' (J.N. Straus, Cambridge University Press, 2001), and remember his not-too-strict application of serial elements. Of course he is a genius in any style; if there is some resemblance between my short examples and his masterpieces I guess it is through the instrumental forms used. I tried to demonstrate how from these basically dense settings (12-tone chords) one may achieve some lightness and transparency through careful and deliberate orchestration. Thanks for your feedback.
@@FransAbsil I think its more a coincidence (not to mention subjective) that examples 1 and 3 at the end brought to mind Stravinsky.
It's very interesting! Thanks a lot!
At the beginning you mentioned book by Lutoslawski. What book did you mean?
Thanks for the feedback. The book is: The Music of Lutoslawski by Charles Bodman Rae (1999). Find the full reference in the bibliography list in the corresponding article on my website (see the Document Library).
CBR was our 20 Century Composition tutor at college, in Leeds UK! He emigrated to Australia about 15 years ago to take a position in a conservatoire in Adelaide.
I want to make a piece consisting entirely of 12 tone chords
@coreylapinas1000 Thanks for sharing your opinion about the different types of 12-tone chords (YT did not allow me to reply to your previous comment). Between the Mother chord and these Lutoslawski structures there are similarities (contain all 12 pitch-classes, optional split into 3 tetrachord layers) and differences (the mother chord contains all interval-classes {0,..,11}). When splitting into 3 layers the outer strata yield two tritone-separated Maj7 structures, with a non-diatonic middle layer. This approach is similar to the 'minimum-tension' structures presented in this video, but the details are different. From there on it is a matter of taste which chords you prefer. Sorry for the late reply. Good luck with the 12-tone chord composition initiative!
@@FransAbsil oh I deleted that comment because I changed my mind about these chords lol.