387 безкоштовних аудіофайлів для "All Interval Twelve Tone Rows"

Nono- Il Canto sospeso all-interval series, as Midi

Gruppen tone row (Stockhausen 1963b, 116; Harvey 1975, 58; Misch 1998, 161; Whittall 2008, 185).

One of four 'Link' chords, all-interval twelve-tone sets containing an all-trichord hexachord.

Grandmother chord (Grossmutterakkord), first used by Nicolas Slonimsky. A G# Bb G B♮ F# C F♮ C# E D Eb = 0 e 1 t 2 9 3 8 4 7 5 6.

Mother chordMutterakkord

Motherchord (Mutterakkord), pyramidal (symetrical) chord. A G# E C# B F# C♮ F♮ G Bb D Eb = 0 e 7 4 2 9 3 8 t 1 5 6.

Tone row of Webern's Variations for piano, op. 27.

Webern's Concerto Op. 24 tone row, composed of four trichords: P RI R I.

The symmetry of Webern's tone row from Variations, Op. 30, is apparent from the equivalent, P1=IR1 and R12=I12, and thus reduced number of row forms, two, P and R, plus transpositions. Consisting of three related tetrachords: a and c consisting of two minor seconds and one minor third and b consisting of two minor thirds and one minor second. Notes 4-7 and 6-9 also consist of two minor seconds and one minor third. Created by Hyacinth (talk) 23:25, 19 October 2010 using Sibelius 5.

All-interval hexachord triads.

Tone row for Milton Babbitt's Composition for Four Instruments.

4-29ZA (all-interval) tetrachord on C

4-29ZB (all-interval) tetrachord on C

4-15ZA (all-interval) tetrachord on C

4-15ZB (all-interval) tetrachord on C

Slonimsky's Pyramid chord. A G# F# D# B F# C♮ F♮ A C D♮ Eb = 0 e 9 6 2 9 3 8 0 3 5 6.

Tone row from "Tot" ["Lifeless"], Drei Lieder, Op. 48.

All-trichord hexachord (6-Z17). Created by Hyacinth (talk) 12:03, 22 September 2010 using Sibelius 5.

Pierre Boulez's Second Piano Sonata series. Created by Hyacinth (talk) 01:57, 19 October 2010 using Sibelius 5.

The tone row from the first movement of Alban Berg's Lyric Suite, according to Wolfgang Stroh.

Berg's Lulu Schoolboy tone row on C.

Berg's basic tone row from Lulu on C.

Tone row from the first movement of Alban Berg's Lyric Suite, according to George Perle.

Berg's Dr. Schön tone row from Lulu on C.

Berg's Lyric Suite Mov. VI tone row 2-P.

Berg's Lyric Suite Mov. VI tone row 1-P

Principal forms of Webern's tone row from Variations for piano, op. 27, movement 2.

Berg's Alwa tone row from Lulu on C.

Sum-4 family.

Berg violin concerto tone row

Example 12 from Stockhausen's article "… wie die Zeit vergeht …", illustrating with a version of the series from Gruppen fur drei Orchester that, "if you start from the intervals of a proportion series, then with every step forward the register of each duration is also already chosen" (Stockhausen 1963b, 117). There are "a number of basic durations, indicated in metronome marks and corresponding with the pitch proportions within the series, reaching far as the octave positions (basic duration units)" (Leeuw 2005, 174), or "a duration scale which changes its 'time register' … corresponds to a twelve-tone scale that extends over more than one octave" (Misch 1998, 157–58).

Prime form of five note tone row from Igor Stravinsky's In memoriam Dylan Thomas.

Tone mixtures for Group I of Studie II. First five pitches (Group I: 1). G♯=100 Hz.

Tone row from Stockhausen's Klavierstück IX.

Tone proportions of Studie I. I took F♮ as the starting point.

Tone row with Schoenberg's initials preceded by remaining four notes.

Prime row form from Stravinsky's Requiem Canticles.

Rudiments of the 12-note series from Stockhausen's Klavierstück III (Leeuw 2005, 176–77). Created by Hyacinth (talk) 01:36, 20 October 2010 using Sibelius 5.

The fourteen-tone series on which the melody "Libra" from Karlheinz Stockhausen's Tierkreis is based. (From p. 151 of Jerome Kohl, "The Evolution of Macro- and Micro-Time Relations in Stockhausen's Recent Music", Perspectives of New Music 22, nos. 1 & 2 (Fall-Winter 1983/Spring-Summer 1984): 147–85.)

Combinatorial all-trichord hexachords from Elliott Carter's Piano Concerto, mm.59-60. Hexachord I: 0, 1, 2, 4, 7, 8 (6-z17A). Hexachord II: 0, 1, 2, 5, 6, 8 (6-z43A).

Schoenberg - Variations for Orchestra op. 31 tone row.

Mirror forms, P, R, I, and RI, of a tone row (from Schoenberg's Variations for Orchestra op. 31): "Called mirror forms because...they are identical."

Schoenberg - Piano Piece op.33a tone row.

Combinatorial tone rows from Moses und Aron by Arnold Schoenberg pairing complementary hexachords from P-0/I-3.

The opening eleven note chord from Aaron Copland's Inscape, without orchestration shown.

Last chord of Anger's Tintamarre (The Clangor of Bells) (1911).

Primary forms of the just tone row from Ben Johnston's String Quartet No. 7, mov. 2. Pitch bend appears to match intervals.

I created this file myself (using Sibelius, Windows Sound Recorder, and Audacity) to illustrate the concept of interval class.

The most common or standard 12-bar blues progressions variations, in C.(Benward & Saker 2003, 186). Created by Hyacinth (talk) 06:08, 14 July 2011 (UTC) using Sibelius 5.

The most common or standard 12-bar blues progressions variations, in C.(Benward & Saker 2003, 186). Created by Hyacinth (talk) 05:08, 14 July 2011 (UTC) using Sibelius 5.