Rondó (atonal)

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:

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.

Rondó.pdf

Rondó.mp3

This rondo is fun and very listenable...

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)

Brilliant. I love 12-tone works written in this more accessible style. A lot of the music written by serialists in the 50s is totally alienating to me. This tonal atonal music, as jrcramer said, appeals much more to me.

Thanks. I agree with you.

I like the early atonal system (you know: Schönberg, Berg, Webern, also Dallapiccola, etc...). Particularly using it freely.

I dislike total serialism after 50's....

should add an R and D to your structure then you would get ABRACADABRA

Y yo tenía una cabra.

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!

where can i read about this ''classical'' atonal system?

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.

Hi , ive been looking for this concept for a long time, but i dont know how to use it ?

Do you have to COMBINE 2 or more of these chords to achieve the Atonality-Cluster ?

Hello

It’s been a long time since then… about 10 years!

You see, back then I was in the midst of exploring post-tonal languages.

I have to say that to compose with any degree of discernment in any system, you have to study it thoroughly.

This was, like many other things from that era, an example of seeing what might come out of these twelve-tone matrices.

I say this because many people believe that dodecaphonism and systems of this kind are like ‘formulas’ for making music, and that is not the case at all. Composers of this period expressed, never better said (the Expressionist movement), what they felt and translated it into this music which is by no means created at random.

Trying to answer your question... Here I simply tried to follow the rules of Schönberg’s system once it had been developed: that is, all 12 notes must be played before they are played again, so that there is no tonal hierarchy. With that, you can combine the series sequentially, simultaneously, vertically, or in whatever combinations you like. At the time, I chose those combinations in an attempt to make it sound the way it does.