Twelve Tone Technique - Music Composition
VloĆŸit
- Äas pĆidĂĄn 27. 07. 2024
- How does serialism work? We look at writing a piece of music using the twelve tone technique, creating a note row, exploring different ways to treat it and explore the fundamentals of the 12 note Serial technique devised and adopted by Schoenberg, Berg and Webern. Schoenberg and his two disciples Berg and Webern are collectively known as The Second Viennese School. When major and minor tonality reached the limits of what it was designed to do at the end of the Romantic Period, one response was Serial Music. Serialism was based on the notion of equality for all twelve semitones of the scale. These were arranged into a row - an order determined by the composer. The row could then be used forwards, backwards, upside down, or upside down and backwards. During this music composition lesson we explain the system, then construct a row and illustrate how the row is used in all these transformations. Fascinating for people who would like to understand the technique, for composers who would like to try writing in this style, and for performers and analysts wanting to grasp the system. We conclude by explaining and performing a piece written in Serial style.
đŽ Subscribe for more videos just like this: / @musicmattersgb
đ” Become a Music Matters Maestro: / @musicmattersgb
đ Merch store: / @musicmattersgb
đ Timestamps
0:00 - Introduction to twelve tone technique
2:41 - Creating a note row
5:54 - Transformations of the row
7:40 - A piece of music using the note row
đ Learn Music Online with Music Matters
Learn music theory, aural tests, composition, sight reading, orchestration and more! Prepare and practice for music exams and diplomas with Music Matters Courses. Whether you're just getting started with learning music, or you're an experienced musician looking to expand your abilities - we have something for you in our course library. With hours of step-by-step training, our courses will truly help you elevate your musicianship skills to the next level.
www.mmcourses.co.uk
đ„ Social Media
Website: www.mmcourses.co.uk
Facebook: / musicmattersgb
Twitter: / musicmattersgb
Instagram: / musicmattersgb
Newsletter: eepurl.com/dvgdUD
đ Affiliate Links
Amazon: geni.us/71PKSR
#MusicComposition #MelodyWriting #TheAllRoundMusician
Learn Music Online - Check out our courses here!
www.mmcourses.co.uk/courses
Extremely useful lesson. Your ability to showcase inherently difficult to understand musical concepts is remarkable. Thanks for the great work!
Thatâs most kind. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme.
How can someone with hand written whiteboard theory make it so interesting! Loved it as I did your grade 2 theory course
Thatâs really kind. See www.mmcourses.co.uk for much more.
If I had a penny for every time I heard a music teacher trot out a _cerealism_ pun. Dear lord đ
đ
Always had a vague idea of how the twelve-tone technique worked, but you made it clearer for me. Thank you.
Thatâs great. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme.
I like the 12 note composition for certain things that I feel expand the music language. The 1st thing that popped into my head when I hear this applied is it sounds to me like someone talking in a conversation or even as a person in thought. I find that interesting when put into a piece of music.
Excellent. That will fire your musical imagination.
Listen to soundtrack from Planet of Apes
This is getting me through my exam tomorrow!
Good luck. Let us know how it goes.
Thanks! I've always wondered about Scoenberg's music, and this gives me some things to explore.
Thatâs most kind. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme.
I love dissonant harmony. Sir please can you do some courses on how to harmonise with dissonant chords?? It would help me to get stronger ear muscles and go deeper in my music
Ok.
Really good short lecture on 12 tone serialism. I liked your piece - very expressive. Thanks MM!
A pleasure. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme. If you value this channel and would like to help us continue to share and develop the content please consider supporting us as a level 1 Maestro by clicking here czcams.com/channels/8yI8P7Zi3yYTsypera-IQg.htmljoin Alternatively you can express your support for the channel by clicking on the Super Thanks button beneath any of our videos. Thank you.
This channel is a paradise.
Love u love ur vids
Thatâs really kind of you. See www.mmcourses.co.uk for much more.
Hello sir! This is mt first video of yours and it's helping tremendously. I'm about to be in my first year at college as a music ed major, and I know that's going to be a pain, so please don't stop making videos in the next 4 or so years!!!
Ok. We will do our best to keep going! Good luck with the course. Of use might be our 25 online courses and details of Music Matters Maestros at www.mmcourses.co.uk
Bravo! Such an advanced musical topic, but important in the evolution of music!
Thatâs most kind. Much more at www.mmcourses.co.uk
Such a cool lesson, thanks.
Thank you. Much more at www.mmcourses.co.uk
Excellent video, the Gentleman is a great teacher, very talented, what seems hard to understand in other numerous videos, he makes it super simple and easy to deliver it with 100%, Very grateful, thank you
Thatâs most kind. Much more at www.mmcourses.co.uk
Strongly disliked dodecaphonic music for most of my life until literally just the last couple of years -- strangely enough, I started changing my mind about it during the early days of the Pandemic in 2020, and realizing there was something strangely enticing about the (seeming) "chaos" of serialism; probably not a coincidence that I started enjoying it more during a year that was, in itself, extremely chaotic for the world. In my humble opinion, Jerry Goldsmith was a true master of the twelve-tone system, especially when he would find a good rhythm for it.
Anyway, my interest in serialism has become such that I'm interested in dabbling in it myself. So thank you so much for this video, it feels like a perfect place to start studying.
Thatâs great. Interesting thoughts there.
Love your videos!! This is awesome! Thanks so much.
A pleasure. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme. If you value this channel and would like to help us continue to share and develop the content please consider supporting us as a level 1 Maestro by clicking here czcams.com/channels/8yI8P7Zi3yYTsypera-IQg.htmljoin Alternatively you can express your support for the channel by clicking on the Super Thanks button beneath any of our videos. Thank you.
Your explanation is very clear and easy to understand. Thank you so much! It's really helpful
Itâs a pleasure. Glad itâs helpful. Much more at www.mmcourses.co.uk
Such a great explanation! Thank you so much for that.
A pleasure. Much more at www.mmcourses.co.uk
Amazing explanation! Thank you so much for this!
Thatâs most kind. Much more at www.mmcourses.co.uk including details of our 25 online courses and of our Music Matters Maestros programme.
This video is a masterpiece of you
Thatâs very kind.
Totally clear and concise.
Thatâs kind. Much more at www.mmcourses.co.uk
Great job explaining this. Thank you!
A pleasure. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme.
Thank you thank you! Such an easy and clear explanation of what means dodecaphonic music writing! Very creative method to use for nowadays music!
Glad itâs helpful. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme.
What an excellent description. And suddenly I realize I've heard this in a number of interesting places over the years, especially in some really interesting 1970s intrigue and suspense films.
Absolutely
Ron Jarzombek is a fairly well-known death metal musician who uses this concept. He makes it work very well in that context.
Interesting video, as usual!
Thatâs interesting.
Anything except things that sound conventionally nice work in the context of death metal.
đ
Highly interesting! Thanks!
A pleasure. Many more resources at www.mmcourses.co.uk
Well explained lesson. Good work. Thanks!
Glad itâs useful. Much more at www.mmcourses.co.uk
It evokes horror, chaos and inner uncertainty.
It brings all one's mental illnesses and hidden dark subconsious thoughts to the serface haha.
I absolutely LOVE it. I was looking for this type of Music composition. Bless your heart.
Thatâs great. Much more at www.mmcourses.co.uk
Thank you!
đ
Are you okay dude?
How interesting! Thank you.
A pleasure. Much more at www.mmcourses.co.uk
i love your voice! i am home-schooled rn and i ain't that a self-learner. i found out that people disliked twelve-tone music and made fun of it so i watched this video-
A pleasure. Much more at www.mmcourses.co.uk including details of our 25 online courses and of our exciting Maestros programme.
I disliked serialism in college. 40 years later, I still dislike it. Some things donât change. Excellent video, though. Thanks.
Thanks! Each to their own...
Serialism was the end of the classical legacy.
đ
@@JJJRRRJJJ Serialism was the end of music.
Thatâs one view!
So fantastic!! Iâd love to hear a Stravinsky-esque harmonic discourse. Wonderful teaching!
A pleasure. Okay will consider that. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme. If you value this channel and would like to help us continue to share and develop the content please consider supporting us as a level 1 Maestro by clicking here czcams.com/channels/8yI8P7Zi3yYTsypera-IQg.htmljoin Alternatively you can express your support for the channel by clicking on the Super Thanks button beneath any of our videos. Thank you.
Very informative video. Expertly explained. Thank you for sharing this.
A pleasure. Much more at www.mmcourses.co.uk
Great ! Very helpful, thanks.
A pleasure. See www.mmcourses.co.uk for much more. All the best. Gareth
Fantastic explanation.
A pleasure. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme.
Excellent piece
Most interesting
A pleasure. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme. If you value this channel and would like to help us continue to share and develop the content please consider supporting us as a level 1 Maestro by clicking here czcams.com/channels/8yI8P7Zi3yYTsypera-IQg.htmljoin Alternatively you can express your support for the channel by clicking on the Super Thanks button beneath any of our videos. Thank you.
Great video!
Thatâs most kind. Much more at www.mmcourses.co.uk
Great video! I wasnt a fan of Serialism back in College but Now I listen to Ornette Coleman so đ€·đżââïž Not sure how many Jazz guys are on here but this seems like a great compositional exercise and an awesome way to practice Reharminaztion!
Thanks. It certainly opens up new possibilities.
Very interesting! I was thinking about how to approach a song that needed a bit of "mystical" and dissonant feel. Was going to try a phrygian mode, but this seems even more exciting!
Go for it!
Thank you so much for this video! I watched this last week and now I am starting to compose my own 12-tone composition! I really love listening to atonal music and I really wanted to write one. : )
Thatâs great. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme
Thanks a lot. Thanks once again. Very useful web page.
A pleasure. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme.
You are a very good teacher. For my exam I have to study an article about Schönberg's twelve-tone system, which I have no idea whatsoever because it is one lesson which is not related to my major, but I have to take it (( Your explanation saved me. Thank you.
A pleasure. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme. If you value this channel and would like to help us continue to share and develop the content please consider supporting us as a level 1 Maestro by clicking here czcams.com/channels/8yI8P7Zi3yYTsypera-IQg.htmljoin Alternatively you can express your support for the channel by clicking on the Super Thanks button beneath any of our videos. Thank you.
Merci beaucoup pour ce cours.
A pleasure
verry intresting! Thank you!
A pleasure. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme. If you value this channel and would like to help us continue to share and develop the content please consider supporting us as a level 1 Maestro by clicking here czcams.com/channels/8yI8P7Zi3yYTsypera-IQg.htmljoin Alternatively you can express your support for the channel by clicking on the Super Thanks button beneath any of our videos. Thank you.
Cool, thank you. Going to spend some time on your other vids.. (a 12 tone fan).
A pleasure. See our 12 tone course at www.mmcourses.co.uk
So i had this lesson in university and i swear to god, i didnt understood a thing. Not the logic not anything. Now i have to use this and finally i understood the logic behind this subject. Thank you very much. It was very simple but in the same time, it wasnt.
Glad itâs helpful. See the rest of the course at www.mmcourses.co.uk
Fascinating.. not sure if I see it as music as we understand it, but it's definitely a technique that can be used when you're looking to create something avant-garde or mysterious.. for example a soundtrack for a movie and the like.. certainly an interesting tool in a musician's toolbox for creating things out of the box..
Absolutely
I finally understood! Now i can pass my exam :D Thank you so much, very comprehensible
Thatâs great. Good luck. Let me know how you get on.
Thank you kindly.
A pleasure
Thank you, you helped me with my theory 4 final
Thatâs great. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme.
youtube tutorials really are saving my music degree one video at a time
A pleasure. Much more at www.mmcourses.co.uk
thank you for this video! i'm busy studying 20th century music for my music class and this helped me understand serialism more! personally, it's not my taste, but i appreciate it nonetheless!
A pleasure. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme
Subscribed!
Thatâs great. Much more at www.mmcourses.co.uk including details of our 25 online courses and our Maestros programme.
thank you very much
A pleasure. Much more at www.mmcourses.co.uk
THANKS A LOT !
A pleasure. The rest of this course is at www.mmcourses.co.uk
Wow, that's really a great technique, thanks music matters
A pleasure. Much more at www.mmcourses.co.uk
ThanksđWarm cheersđ
A pleasure. Thanks for your support
This is the first time i understood serialism, but I've loved Boulez and Webern for years, but simply as a listener not able to truly appreciate the idea.
Thatâs great. Our 12 tone course at www.mmcourses.co.uk goes into much more detail.
Thomas Mann "Dr Faustus" brought me here. Greetings from Warsaw
Brilliant. Greetings to you from the uk. Much more at www.mmcourses.co.uk
Nice explanation. I do like some somewhat dissonant music - I love Bartok's String Quartets, for instance - but I've always found Schoenberg's music unappealing; it's always felt to me more like an intellectual exercise than 'music'.
A lot of people would share that view. The Bartok quartets are fabulous.
Try Schoenberg's string trio.
True
The Brain Trainer game for the Nintendo DS? Anyone else remembers that game? There's this crazy lick that keeps appearing. I love it.
đ
thank you :)
A pleasure. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme.
Loved the video very well explained. I feel like its gonna be a nice introduction for me to understand better atonal music. I have a question though. How did composers extend this to larger pieces of music? Repetition, variations or other methods?
Glad itâs helpful. Yes, variations were widely used but much is repetition of the row in various forms, transpositions, rhythmic variations, combinations.
I believe a video about the 12 tone matrix would come in handy
đ
Thanks
A pleasure. Much more at www.mmcourses.co.uk
That little piece you played at the end sounded very Bartokish. Bartok was always ahead of Schoenberg in twelve tone music, but he never had the backing of the powers driving music in his day.
đ
Thank you for this explanation. It's really helpful.
I have question sir, If I am going to convert C# into sofa syllable is that still a "do"?
It depends on the key. C# would be doh in C# major or it would be ti in D major ie it depends which degree of the scale itâs on rather than the note itself.
What would you say about Samuel Barberâs music in regards to using the 12-tone idea?
Thank you for the video!
Barber wasnât keen on it.
.Very good lecture.I am not sure about the Second Vienese School!I could never wish any of it longer.However I have enjoyed Webern,specially his song music for the female voice.The guys sound. OK but the girls are best.
Thatâs great. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme.
Perhaps you can show us some of the heavy chromaticism in Wagner that preceded twelve tone music. I also have read that their is a piece by Bach with 11 notes in a melody?
Have a look at / listen to Tristan and Isolde by Wagner. Yes Bach is often very chromatic eg The Art of Fugue
Great video again thank you. Just one name I didn't hear dropped was Milton Babbitt. I built one of his matrix but it was ages ago and I've forgotten how to do it. Another video perhaps? đđ
Good point. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme
So just to clarify, do you have to use the row exactly in order of one of those four options, with no higher number coming before a lower one? (Though clearly simultaneous consecutive numbers would be fine in chords.) Also, are you allowed to transpose mid-series, or would that constitute 'using a note again'?
The purist would not transpose during the statement of a row and wouldnât reorganise it in any way but one is free to do whatever one wishes of course. Much more at www.mmcourses.co.uk
Can you use passing tones in between the main tones? For example: #1 is E, maybe I can use a Cm7/A chord, and before I go to #2, C#, can I play other notes, like going chromatic to C#? Great video, I love your channel and explanations.
In strict Serial music you wouldnât use inessential notes or think in conventional diatonic chords.
This is fascinating.....do you have any thoughts on theodor adorno and the Beatles?
Itâs always interesting when people think outside the conventions
Studying this concept to apply to improvisation, there is a tradition of it with players like Eric Dolphy and Ornette Coleman
Interesting
Repeated notes has to do with the underlying row and not the sounding music itself. So the row must sound each note separately, but how the row is realized in the surface of the music can be highly individualized and repeat notes. All dodecaphonic composers repeat notes quite often (except maybe Webern). Either because there are several transpositions of the row sounding simultaneously or simply by using note repetitions, ostinatos, etc.
Thatâs a fair appraisal of how the original concept developed.
Wow I didn't know about this 12 tone technique.
That was a fabulous idea of not using the same note twice, otherwise your mind will search for a mode or scale based on that note(or chord) and a pattern.
But I think other than harmony problems (or at least what most of our brains understand what sounds like a harmony or not) that idea will not actually work well I believe because in that 12 tone scale you always have a semitone difference in every step.
While in every other mode you have steps of semitones and tones in the two most common modes and even a three semitone step in other modes(e.g music in Eastern Europe, Middle East etc) or a mode with steps with just tones(e.g music in China).
I've just heard some compositions with 12 tones and my feeling was that notes were always 'hanging" in the air with no purpose and they couldn't communicate with each other like each one was talking a different language in contrast with musical phrases of "normal" music where they speak the same language.
That was just my personal feeling, of course.
Great lesson sir, thank you very much :)
A pleasure. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme. If you value this channel and would like to help us continue to share and develop the content please consider supporting us as a level 1 Maestro by clicking here czcams.com/channels/8yI8P7Zi3yYTsypera-IQg.htmljoin Alternatively you can express your support for the channel by clicking on the Super Thanks button beneath any of our videos. Thank you.
Hello! First of all, thanks for the video It really helped me understand but I have a question. For example, on the piano, when the right hand plays P4, does the left hand have to play the same, or can it be chosen from the other 48 options? I hope I can explain myself. How is this technique used for piano?
You can use any one of the options simultaneously eg one presentation of the row on one hand, with another running in the other hand or you can create chords from the row. Actually thereâs a lot of freedom.
@@MusicMattersGB Oh! Thank you so much!! đđ
đ
Can you play a row in treble clef then play the same on in retrograde in the bass clef? Is that considering repeating notes therefore not a row?
Absolutely
Just a question. Have you made a video about how to apply rhythmical elements to a 12 tone row? I know there are many possibilities but have you discovered certain tricks or methods to re-work a 12 tone row into a melodic form?
Thatâs covered in the full course at www.mmcourses.co.uk
I think Schoenberg also tried to equalize things rhythmically by emphasizing the weak parts of the meter and tying those otherwise weak notes across the beats and bar lines.
Thereâs a hint of that in places but I donât think it was a primary concern for him
AMAZING.
Thatâs very kind. Much more at www.mmcourses.co.uk
Music Matters I would like to see a video about the differences between atonal music, dodecaphonic music (twelve-tone technique), and serial music, as I cannot understand the distinctions between them.
Ok
Arnold Schoenberg's piano sonatas are what did it for me, helped me learn to appreciate serial music. The best interpreter for Schoenberg's piano sonatas is Paul Jacobs.
Absolutely agree.
Should notes from the row appear strictly one after another in our composition or any order is possible? How should we pick up notes from the four rows?
The idea is to use the notes in order, then to complete one row in any given part before starting another. You could have two or more parts combining statements of the row simultaneously or you could use the row harmonically.
Question: So I understand the very basic "rules" of the Twelve Tone system and how the notes are sequential, and each note cannot be used again until the other 11 notes have sounded. You mentioned, I think, that this can be done melodically OR harmonically? I get the "melodically" part, but I wanted to make sure I'm understanding the "harmonic" application correctly -- so if I have twelve notes in a sequence that I've predetermined (1 through 12), "harmonic" application would be, for example, forming triad chords, so what this would look like is the first triad would be notes 1,2,3, then the next triad would be notes 4,5,6, then the next triad 7,8,9, and the next 10,11,12. Is that a correct understanding of using the Twelve Tone technique harmonically?
Thatâs perfectly correct although Iâm Serial music textures tend to be much more varied and triads become less important because the music is not tonal so your first chord could be 1,2 the second could be 3,4,5,6 etc
you are so CUTE!!!! Thanks for explaining this!
A pleasure
Awesome video! Can you form chords using this technique, if so, are there any rules for this?
You certainly can eg take the first few notes of the row to form a chord then the next few to form the next chord etc
@@MusicMattersGB Brilliant. Thank you! Love your videos!
Thatâs most kind. Have a look at our online courses and details of Music Matters Maestros at www.mmcourses.co.uk
I have a question, what happens with the accidentals of a note when you do the R or I of it? Is there a rule how it changes?
The essential thing is to preserve the intervals but youâre perfectly at liberty to rewrite notes enharmonically.
The " music " made me feel about demonic activity. It was extremely discordant! I had forgotten about learning it back in college. Now I know why I forgot it.
đ
I don't know much about music theory, but i think the song Caresse by Die Form might follow this concept.
đ
Maestro, thank You very much!. How do you orchestrate 12 tone rows?.
You can allocate all notes of a row to one instrument or you can spread the row across as many instruments as you like.
@@MusicMattersGB Thank You so much!.
@Zaleskee đ
So I am allowed to use essentially any figuration I want at any tempo and time signature as long as I sound every pitch without repeating pitches until every pitch has been sounded? Iâm still confused as to what the tone rows do for me... Am I expected to write my music with those sequences only or am I allowed to go wherever I want?
Thatâs basically the correct approach. You can do anything with the row thatâs explained in this video.
Music Matters - Very interesting, but hard to parse. However, thanks for this video! It has definitely answered a lot of my questions regarding this method.
It seems rigid but you are free to construct the row as you wish.
I wish you had explained more how you put your piece together. Did you use one row at a time (I think you did) or did you allow a combination of contrapuntal tone rows? I am not even sure whether you used retrograde or inverted rows. Another question is about normal rules of harmony such as parallel fifths - I guess these should be avoided (unless a particular effect is required).
Some people find some of our videos too long so I didnât go into forensic detail on the piece itself but yes it uses the complete row each time in various presentations of Original, Inversion, Retrograde and Retrograde Inversion. Donât worry about the normal rules of harmony because this is an atonal context.
@@MusicMattersGB Thank you for replying. I think parallel fifths still risk sounding empty, though I notice that in tonal music enharmonic parallel fifths can sound OK.
You are right, longer videos will deter people.
A problem for serialism is that retrograde rows are not usually recognisable and so do not support the aural structure. Nevertheless, it is interesting how the ear adapts. I was exposed to quite a lot of this sort of music in Cheltenham in the 70s and became quite accustomed to atonality.
đ
I find the language of atonality to be completely intoxicating. And while I prefer much later Schoenberg, his early forays into total chromaticism are spellbindingly expressive (I'm thinking of his Op. 11, Op. 19, etc). While the serial technique you use here was a later development of his, I think your short piece really captured some of the essence of what makes those compositions so magical. I congratulate you, and thank you for elucidating a topic which is so alien to so many people, yet which can offer so much!
Thanks very much.
Please explain retrograde inversion. One note at a time. Thanks
Take the Row, turn all the intervals upside down then present it backwards.
I'm a bit late to the party, but I noticed a repeated note at about 9:38, an F and an F#, then F again. Serialism, though I enjoy it, is still kind of bewildering or disorienting to me, so I just take in the flow and I feel unable to count the notes to tell where we are exactly. Maybe the F# (Gb) was the end of a row but was not the end of a phrase (which is quite interesting if true) or maybe it's an ornament like a mordent and doesn't count.
Just the end of a statement of the row
so unless we know the initial tone row and the change of the row that is playing of that piece(whether from listening or from the music score), we cannot tell that a note is Iin6, IR3 or something?
Itâs helpful to know what the row is but one can always work it out by looking at the piece.
@@MusicMattersGB thx
đ Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme.
The first row to my ear sounds like A7 D7 Gm D7 G7(three beats) resolving to C on the last note
đ