Intervals when making a tone row – what to keep in mind?

Intervals when Making a Tone Row – What to Keep in Mind?

When composing with twelve-tone or serial music, the construction of a tone row plays a crucial role. A tone row is a sequence of pitches that forms the basis for the composition. In this article, we will explore the important considerations regarding intervals when creating a tone row.

Singability

One essential aspect to keep in mind when constructing a tone row is singability. It is generally recommended to prioritize intervals that are easily singable. This means avoiding large jumps between consecutive notes in the row. If a big leap is necessary, it is advisable to follow it with a note that is closer in pitch to the first note. By doing so, you ensure that the melodic line remains accessible for vocalists and instruments, particularly wind instruments.

Octave Range

Another important factor to consider when working with a tone row is the octave range. Unlike traditional melodic lines, a tone row is not limited to a single octave. You have the freedom to utilize intervals that span across different octaves. This allows for greater variety and interest in your composition. For example, you can use a minor second interval (e.g., B – C) to create a melodic contour that extends beyond a single octave.

Minor Second

In a tone row, the use of a minor second interval is acceptable and can add expressive possibilities to your composition. A minor second interval represents the smallest distance between two adjacent pitches, such as B – C. By incorporating such intervals in your tone row, you can create tension and dissonance, which can be resolved in various ways throughout the composition.

By considering these factors of singability, octave range, and the potential for minor second intervals, you can create a tone row that is both musically compelling and well-suited for performance by vocalists and instrumentalists.

Sources:

• Music: Practice & Theory Stack Exchange. “Intervals when making a tone row – what to keep in mind?” 2020. Available at: https://music.stackexchange.com/questions/86565/intervals-when-making-a-tone-row-what-to-keep-in-mind.
• Open Music Theory. “Composing with Twelve Tones.” Available at: https://viva.pressbooks.pub/openmusictheory/chapter/composing-with-twelve-tones/.
• Open Music Theory. “Intervals.” Available at: https://viva.pressbooks.pub/openmusictheory/chapter/intervals/.

FAQs

Why is singability important when making a tone row?

Singability is important when making a tone row because it ensures that the intervals between consecutive notes are accessible and manageable for vocalists and instruments. By keeping the intervals singable, the melodic line becomes easier to perform and interpret.

Are there any limitations on the range of intervals in a tone row?

There are no strict limitations on the range of intervals in a tone row. However, it is advisable to avoid excessively large leaps between consecutive notes. If a large leap is necessary, it is recommended to follow it with a note that is closer in pitch to the first note, maintaining a sense of continuity and coherence.

Can a tone row span across different octaves?

Yes, a tone row can span across different octaves. Unlike traditional melodic lines, a tone row is not confined to a single octave. Utilizing intervals that traverse different octaves adds variety and interest to the composition.

What is the significance of using minor second intervals in a tone row?

Including minor second intervals, such as B – C, in a tone row introduces tension and dissonance. These intervals can contribute to the expressive qualities of the composition and offer opportunities for resolution and development as the piece progresses.

Can tone rows be adapted for specific instruments or vocal ranges?

Yes, tone rows can be adapted for specific instruments or vocal ranges. Composers may modify the arrangement of the tone row to accommodate the capabilities and characteristics of particular instruments or vocalists. This allows for a more tailored and effective performance.

Are there any guidelines for creating melodic contours within a tone row?

While there are no strict rules, it is generally recommended to maintain a sense of coherence and musicality in the melodic contours within a tone row. This can be achieved by considering the overall shape and direction of the melody and ensuring that the intervals chosen contribute to the desired expressive qualities of the composition.

Can a tone row include repeated pitches?

Yes, a tone row can include repeated pitches. The focus of a tone row is on the order and arrangement of the pitch classes, rather than the specific pitches themselves. Repeated pitches can be used strategically to create rhythmic or textural effects within the composition.

How can I ensure that a tone row remains cohesive and unified?

To maintain cohesiveness and unity in a tone row, it is helpful to establish relationships and connections between the various pitches and intervals. This can be achieved through the use of transposition, inversion, retrograde, and other compositional techniques that manipulate the original tone row while preserving its fundamental structure.