Just started a Twelve-Tone piece for Flute and Harp last week.
What I’m working from:
I0 I5 I8 I3 I2 I7 I11 I9 I10 I1 I4 I6 P0 D G A# F E A C# B C D# F# G# R6 P7 A D F C B E G# F# G A# C# D# R1 P4 F# B D A G# C# F D# E G A# C R10 P9 B E G D C# F# A# G# A C D# F R3 P10 C F G# D# D G B A A# C# E F# R4 P5 G C D# A# A D F# E F G# B C# R11 P1 D# G# B F# F A# D C C# E G A R7 P3 F A# C# G# G C E D D# F# A B R9 P2 E A C G F# B D# C# D F G# A# R8 P11 C# F# A E D# G# C A# B D F G R5 P8 A# D# F# C# C F A G G# B D E R2 P6 G# C# E B A# D# G F F# A C D R0 RI6 RI11 RI2 RI9 RI8 RI1 RI5 RI3 RI4 RI7 RI10 RI0
For those that don’t know:
P = Prime
I = Inversion
R = Retrograde
RI = Retrograde-Inversion
Twelve-tone matrixes are nice, because they take one challenging aspect of composing out, which is picking the notes, but getting all the variations of the prime row to work together without sounding too different/unrelated is quite a challenge.
