p.2
Pattern of 12-tone theory
12-tone theory
The 12-tone theory is a composition technique of atonic music created by Austrian composer Arnold Schonberg. This technique is based on a total of 48 orders of the 12-original forms in which 12 notes in one octave are arranged in a certain, Retrograde of the 12-original form, Counteraction form, and Retrograde form of the Counteraction form.
Music and pattern of 12-tone theory
In this book, I would like to introduce the process of creating a pattern by applying the theory of Klavierstück Op.33a of Arnold Schonberg, which was composed by thoroughly following to the 12-tone theory.
First, a pattern to be allocated to each of the 12 scales and a pattern to be allocated to each of the sound intensities (p, mp, mf, f, ff, crescendo, decrescendo) were created. The pattern representing the scale in this song was inspired by a video of the opera LuLu by Alban Berg, composed by 12-tone techniques. What patterns to assign to which scales and what colors to apply were placed without any special meaning to emphasize the arithmetic nature of the 12-tone technique.
<Opera LuLu : https://www.youtube.com/results?search_query=opera+lulu>
p.3
Pattern of scales
Pattern of C
It was inspired by the graphic of measuring the height that appeared when Lulu, who became a criminal and was arrested by the police, went through a procedure to collect personal information of criminals.
Pattern of C#
When Lulu posed as a model in front of the painter, It was depicted holding a half-eaten apple in her hand.
p.4
Pattern of D
In the second half of the opera, it was inspired by the uniquely bent form of the plant used as a stage accessory. The bent part of the plant lead to a line, but in the pattern, they are shaped like joints.
Pattern of D#
It was inspired by jewelry used as Lulu's forehead decoration. It was refreshing to decorate the forehead itself, but it was impressive to see it decorated with very large jewels.
p.5
Pattern of E
It was inspired by the legs of the chair sporadically placed on the stage. It was impressive to think of the shape of an animal stretching in the form of bending its front legs and extending its back legs to the floor.
Pattern of F
It was inspired by the appearance of a long rectangular parallelepiped with different colors on the brick covering the entire round wall of the stage. As you can see from the opera, this cubed bounced out and became a staircase.
p.6
Pattern of F#
I was inspired by the stage lighting. After shaping the light from the light, it was rotated to form a pattern.
Pattern of G
A pattern was made by imagining the shape of the sporadically arranged chair when viewed from above.
p.7
Pattern of G#
It was inspired by the long gaps and stairs where the light leaked faintly.
Pattern of A
I was inspired by the scene where Lulu, who was arrested by the police, zoomed in on the fingerprint step by step. A pattern was created by capturing a fingerprint image, tracing a certain part, and then attaching it.
p.8
Pattern of A#
While Lulu was posing as a model, It was inspired by the scene where she kissed her husband to say goodbye.
Pattern of B
I was inspired by the chairs lying on the empty stage.
p.9
Pattern of A Blank Place
As a pattern to fill the gap in the first part of the score, the pattern was made by taking the element of the circle among the patterns of B and the element of the long curve among the patterns of G#.
p.10
Pattern of Sound intensity
System of Pattern
The sound intensity in this song includes p, mp, mf, f, ff, crescendo and decrescendo. The five sound intensity patterns were created by the flow of the idea of 'Sound wave - Wave - Wave Copy, Rotation - Flower'.
The petals are designed to be a calm wave of the blue series as they are closer to the soft (p), and a wave of the red series as they
are closer to the strong (f). And since the protruding portions of each pattern element are made of the same height, they are designed to be connected without awkwardness when overlapped.
p.11
Crescendo and Decrescendo
Crescendo and Decrescendo tried to show the process of changing the sound intensity by bringing the sound intensity at the start and at the end to both sides and the middle sound intensity to the top and bottom. The sections were divided using the guidelines used to make elements.
Unlike the existing five sound intensity, a separate background color was not added to the pattern itself, and background colors (p) and (f) were graded according to the area occupied when applied to the score.
p.12
Pattern System of 12-tone theory
Pattern of 12-tone theory
A total of 48 sound series of the 12-original form, Retrograde of the 12-original form, Counteraction form, and Retrograde form of the Counteraction form of the 12-tone theory mentioned above are randomly mixed and made into a table. It's written in this song. Substituting the pattern in the table results in the image below. The 12-tone theory selects and arranges the 48 orders under.
P : 12-original form / R : Retrograde of the 12-original form / I : Counteraction form / RI : Retrograde form of the Counteraction form of the 12-tone theory
p.13
Grid system
The basic beat of this song is 4/4 beat, and 6 compartments of the grid are assigned to one beat, that is, a quarter note, so that it is 24 compartments wide per bar. In addition, about 7 octaves were used to combine the left and right hands in this song, making it 70 bays long.
p.14
Arrangement of patterns
Pattern placed the left and right hands together in one bar. The compartments of the grid system were assigned according to the pitch and duration. In bars 1-4, for example, the P 10 first appears, the RI 3 appears twice in a row, and the R 10 appears.
p.15
A Blank Place and Residual sound
When listening to music, the previous sound wave does not completely disappear and remains, resulting in residual sound. The highest note pattern was placed in the remaining part of the margin above the pattern immediately following.
