| How To Master Music - Book 1 Melody | Return to catalog |
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| Table Of Contents HOW TO; Have a Revolution -- at Least in Theory Ease the ABC's - Parts I, II, III, and IV Clean Up Your Writing Act Transcribe Tunes by Ear Readily Recognize Written Intervals Sweeten Sounds with Sixths Pick a Pitch Area Alter Arpeggios Make, Understand, or Just Dig Modern Bass Lines Vitalize Inner Voices Counter Melody - Parts I and II Chromaticize Counterlines for the Rest of Your Life Transform Tunes by Metric Means Revamp Rhythm by Metric Means Defeat the One-Chord Doldrum. Set Up Scales and Scale/Chord Combinations - Parts I and II Pin Down Pentatonic Scales - Parts I, II, and III Explore 8-Note Scales - Parts I and II Tame the Tone Row - Parts I, II, and III Motivate Melody Memorize Standards - Parts I and II Improve Your Improv (Along Melodic Lines) - Parts I, II, III, and IV Let Individual Instruments Speak for Themselves 123 pages |
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| 25. HOW TO tame the tone row Part 1 |
| Conventional melody moves mostly along the notes in
some traditional seven note scale, only occasionally touching chromatic notes
along the way:) |
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| Not so the tone row: It lines up all 12 notes of the chromatic scale, in any order, sounding them all before any one of then recurs. Here, for example, is a tone row by Mark Hiskey, a perceptive young composer from Denver. |
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| The original purpose of the tone row, as defined
some 60 years ago by its foremost practitioner, Arnold Schoenberg, was to
free melody from the necessity of belonging to some key. To preserve this
freedom from tonality, reasoned Schoenberg, not only the row itself, but
its harmonic accompaniment as well had to avoid conventional construction
and progression. A row could accompany itself by imitation, thus setting
up unexpected vertical intervals: |
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| A row could run its course over a single pedal tone
(in this case the last note in the row), thus making each vertical
interval different from all the others: |
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