Dodecaphonic suite

(edited)

Hi.

I'm writting this suite —Violin and cello— for my aplication. I'm planning write five movements of two-three minutes max.

For now I wrote two movements, II and III.

2nd movement: a piece in free form. I used fourth circle as P0. The piece uses pizzicato only. Not finished yet.

3rd movement: a piece in free form. This time I used fifth circle as P0. I only using arco and a variety of dynamic marks.

For me, the second movement is the best at time. It have more disonances and more liberty in the use of tone rows than the third movement (It was the first I wrote). A friend of mine says the third movement is too ethereus and causes drop the listen atenttion.

Also I want advising on instrumental writting and another matters.

Thanks for you help.

I'm sure this could develop into something good! It's refreshing to see some good-old-fashioned twelve-tone rows. ;)

What exactly do you refer to with "free form"? It would be interesting to hear your own explanation of this.

Have you thought of expanding the rhythmic aspect of this work? Both pieces are rhythmically predictable which contributes to making the music less interesting. Using twelve-tone rows with common rhythmic patterns in tonal music is hard to get away with. I get the feeling that you might have been inspired by Schoenberg's 4th string quartet, if not, then I suggest that you listen to it. It has a good balance between a little unpredictable rhythms but still not making it feel all random. Of course you can't write like that since you are working on a duo, but the way of thinking is still very similar.

And apart from all that, a notation question. Why don't you write out the repeating notes in the second movement? I think it will be easier for the musicians to read their part since those abbreviations often only occur on single notes in the middle between regular notes. I would only write abbreviations like that when a part is repeating the same note for a more consistent period.

Keep up the good work!

I'd say these don't work very well because there's not enough interval variety. Also what that other guy said.

You need to specify up and down pizz. in the second movement. Some of that fast stuff is awkward/impossible.

I like the 3rd movement better, but they're both boring.

You gotta ask you're self: why I am I writing in a 12-tone style? It's been done to death already.

Thanks. I found your words helpful :)

For me "free form" is a piece who don't respect a prefixed structure like a sonata, ternary form, etc.

Thinking better the third movement is more like a ternary form than free... :facepalm:

I liked you rhythm advising, precisely I think my works are very, but very regular in rhythm. Sometimes I want to do more complex things but I want to know what I am doing. What is a good point for start? a book? listen someone? I want to do some meter change and triplets, but also I want to know what I am doing first.

But also I don't want to sound too random too.

I didn't listen the Schoenberg Quartet.

For the notation issue: I don't know that. I put repeats because I think precisely they are more easy to read. It isn't the definitive version, so I will take you advise.

Thanks.

Thanks for your help.

Some other toughs:

I'm applying to the basic course. They really don't expect much, but I want to improve (and compensing the lack of a electro acoustic work xD)

I have a month to finish this.

Thanks =)

I'd say these don't work very well because there's not enough interval variety. Also what that other guy said.

You need to specify up and down pizz. in the second movement. Some of that fast stuff is awkward/impossible.

I like the 3rd movement better, but they're both boring.

You gotta ask you're self: why I am I writing in a 12-tone style? It's been done to death already.

Ok. I know didn't exist interval variety. I think I choose the worst series.

Up and down pizzicato. Ok.

The third suggestion I don't understand well. You are suggesting me using other compositional techniques?

Thanks! Just I need!

Really I want you recommend me what tecniques can use. And where learn it from.

Thanks.

I'm sorry that was some pretty awful advice. I just think more variety in all aspects will get you closer to the serial aesthetic.

I'm sorry that was some pretty awful advice. I just think more variety in all aspects will get you closer to the serial aesthetic.

Don't worry. All advising is helpful. :happy:

(and my teachers are worst xD)

So, you can recommend any book o composer to listen? I really want to improve my musical languaje, really I fell myself tired of the "tonalesque" style I actually using.

Thanks :happy:

I think I am in a sort of similar development. I like to be somewhat embedded in a tonal setting though.

But I found studying Bergs violin concerto (yeah I repeat this over and over), very helpful. My first positive experience with tonerows was in Barbers piano sonata, a tonal piece where I'm very fond of.

To expand my harmonic language, and grow beyond the romantic one, the book of Persichetti "Twentieth century harmony, creative aspects and practice" was helpful to me, orderly introducing (for me) new ways to approach (tonal, modal, polytonal, etc...) harmony.

Thanks for your help! :)