Composition Study 2 - Serialism

Serialism

This form of music was created using serial compositional methods, most notable of which was the twelve-tone technique, which was devised by a composer called Arnold Schoenberg. The method was meant to guarantee that all twelve notes in the chromatic scale were used, therefore not giving any notes less or more importance than any other whilst also not being in a specific key signature. Serialism became influential for composers in the 20th Century, other composers had created other systems for composing serialism, however Schoenberg's methods were considered the most significant.

Twelve-Tone Technique

This technique requires the use of tonerows, which are cells of twelve ordered chromatic notes. Schoenberg's method allowed for four different transformations of a tonerow. These included:

1. Prime - The original twelve note of the chromatic scale in a tonerow.
2. Retrograde - The prime tone row with all the notes in reverse order. 
3. Inversion -  This takes the prime tone row intervals and inverts them. 
4. Retrograde Inversion - Same as inversion but backwards.

However, a tonerow must contain all twelve notes within the chromatic scale without repeating them.

Twelve-Tone Square

The twelve-tone square is a visual way of displaying the Prime tonerow and all of it's inversions, retrogrades and retrograde inversions. The prime tonerow is the first row which appears on the top of the table, with the retrograde being the same row but reversed. The inversion is the first column moving down the table, with the retrograde inversion in the same column but from the bottom of the table to the top.

Klangfarbenmelodie

This is a technique in which the melody is split and passed through different musical instruments. A technique used by Schoenberg. The technique was used in order to create texture and different timbre to a melody line. 

Examples of Serialism

Schoenberg: Variations For Orchestra

 

 Anton Webern: String Quartet, op 28

 

Anton Webern was an Austrian composer who was significantly influenced by Arnold Schoenberg, building upon the use of the twelve-tone technique.

Composition

Rules of Composition

1. Must use Klangfarbenmelodie

2. Must contain at least four parts

3.  No drums, untuned percussion or drum loops.

The composition began with the invention of the first prime tone row that was to be played on orchestral strings. The notes of this tonerow were as follows: c# e d d# f f# g g# a a# b c. These were then sequenced into Cubase 5 where the rest of the composition began. 

Orchestral instruments were chosen in order to mimic the sound of Schoenberg and Webern's compositions, consisting of symphony strings, cello, violin, flute, clarinet and piano. The piece contains a number of different tonerows with a number of different inversions and retrogrades being used in order to create diversity. Velocities were manipulated on the MIDI instruments in order to give them more of a human feel.

Final Composition

Conclusion 

Being restricted in such a way of composition can be quite challenging, however once practicing the technique it can allow for the creation of interesting compositions. Better quality virtual instruments and more detail into the tonerows would have made this composition better, as well as more attention to detail of the MIDI notes to make the composition sound more human.

References

1. musictheory. (n/a). martrixcalculator. Available: http://www.musictheory.net/calculators/matrix. Last accessed 2014.

2.  gould, bach, and other assorted musical offerings. (2009). Schoenberg: Variations for Orchestra Op 31 (1934) - Pierre Boulez and the CSO (Part 2). Available: https://www.youtube.com/watch?v=8GymJUFFwlI. Last accessed Sep 2014.

3. Michael Nelson. (2014). Anton Webern: String Quartet, op 28 [with score] . Available: https://www.youtube.com/watch?v=xyHIG5rxo7s. Last accessed Sep 2014.