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12 Tone
- Thread starter All_¥our_Bass
- Start date
I wrote 12 tone pieces in college for a music class. I even wrote a 24 tone piece using a synth that could do quarter steps.
It gave me a headache.
Seriously.
I enjoy listening to a lot of serial music. I enjoy composing and performing a lot of serial music.
I think the reason a lot of people don't enjoy serial music is because
A) they've somehow been led to believe that a piece's serialism absolves it from having to be interesting, engaging, deep, moving, and emotionally gratifying music (when that's the farthest thing from the truth) and so they wind up believing that crappy serial music -- e.g., of the sort that you encounter in an undergraduate music seminar by neophyte composers -- is representative of the entire milieu; and
B) they expect it to sound like tonal music, and as soon as they recognize that it doesn't, they dismiss it rather than take the time to learn what to listen for.
I think the reason a lot of people don't enjoy serial music is because
A) they've somehow been led to believe that a piece's serialism absolves it from having to be interesting, engaging, deep, moving, and emotionally gratifying music (when that's the farthest thing from the truth) and so they wind up believing that crappy serial music -- e.g., of the sort that you encounter in an undergraduate music seminar by neophyte composers -- is representative of the entire milieu; and
B) they expect it to sound like tonal music, and as soon as they recognize that it doesn't, they dismiss it rather than take the time to learn what to listen for.
Well, I don't have any formulas, but I for one loves to dabble with strange odd meters, 12 tone music and music that goes beyond the traditional western tonal scale:
Here's one example, from my drone/ambient/noise project, called Dør#3, or just Dør, as it is called on my new digital released album, on which it is the tittle track:
Also this track, RBG (an examination in chromesthesia), or just RBG, also with my drone/ambient/noise project, isn't build up on traditional music theories on notes and harmonies, but is instead build up using a higher and lower frequency of the 3 basic colors transformed into the audible spectrum using a sinus wave generator (kind of my own half baked pseudo scientific emulation of chromesthesia):
Here's the theory behind it:
An examination in chromesthesia:
The wavelengths of the 3 primary colors our optic nerves can perceive has been transformed to sound within the audible spectrum through a sinus wave generator.
A higher and a lower pitch for each of the 3 colors has been arranged into this musical piece.
Red: (0.000000700 x 12^8) + (0.000000700 x 10^8)
Blue: (0.000000470 x 12^8) + (0.000000470 x 10^8)
Green: (0.000000530 x 12^8) + (0.000000530 x 10^8)
Here's one example, from my drone/ambient/noise project, called Dør#3, or just Dør, as it is called on my new digital released album, on which it is the tittle track:
Also this track, RBG (an examination in chromesthesia), or just RBG, also with my drone/ambient/noise project, isn't build up on traditional music theories on notes and harmonies, but is instead build up using a higher and lower frequency of the 3 basic colors transformed into the audible spectrum using a sinus wave generator (kind of my own half baked pseudo scientific emulation of chromesthesia):
Here's the theory behind it:
An examination in chromesthesia:
The wavelengths of the 3 primary colors our optic nerves can perceive has been transformed to sound within the audible spectrum through a sinus wave generator.
A higher and a lower pitch for each of the 3 colors has been arranged into this musical piece.
Red: (0.000000700 x 12^8) + (0.000000700 x 10^8)
Blue: (0.000000470 x 12^8) + (0.000000470 x 10^8)
Green: (0.000000530 x 12^8) + (0.000000530 x 10^8)
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