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This piece is in the Rondó Form. There is a main subject (tema principal) and three subordinate themes.

So the structure is ABACADA, the A part has always been modified.

I have used the "classical" atonal system described by Schönberg and "friends". The dodecaphonic matrix is this:

Captura de pantalla 2016-05-26 a las 21.13.51.jpg

Several series are combined to achieve the variation and to create tension and rest (they are not randomly combined, as many people think about atonality). The series are notated in the score.



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I liked this. I think what you explored the most is the melodic properties of the row. Do you use it also to form chords out of it, groups of 3 or 4 at once? At first glance I thought you did not. The organum tool you used P0+p8+p2 is interesting. In fact I liked it a lot. But it felt a bit like cheating on the principle of 12tone music. That said, I like it, because it enhances harmonic implications of the melody, and anything that defies the total emancipation of notes, and gives some ground, I usually like. tonal atonal music :) (Like Berg)

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This was pretty fun! The half steps in your chord in the left hand at 9 and 13 is a little off putting to me for some reason, and the engraving at 29 and 56 confused me a little bit, but I really liked this, even for not liking traditional atonal music that much!

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Well, this piece was made using the principles of Schönberg. That is to say: a series (P0) was designed and the matrix obtained by transposition, inversion, retrogradation, etc...

The composition is based on the combination of the series. The series are not named, usually. But I wanted to show them. Sometimes I add a "free" series to express the harmonic mood I want. The free series do not follow any row from the matrix, but it contains the 12 semitones, too.

This type of language is not random. There are different ways to express "stress" or "rest", depending on the intervals of the chords, the rhythm, dynamics, etc...

So, if you are interested, Schönberg is the "father" of it.

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