a simple way to write twelve-tones music

If you’re not a musician, the idea of 12-tone music might seem like an impenetrable mathematical puzzle. But it’s actually easier than it sounds—and very important in the history of music. The technique was developed by Austrian composer Arnold Schoenberg (1874-1951), and it revolutionized classical composition by introducing a new way to make all 12 notes equal. In this article, we’ll explain how he did this so that anyone can write twelve tones music

12 tones music is a technique and philosophy

The twelve-tone technique is a method of composition used by some 20th-century composers in which the tone row, a series of twelve pitches, serves as the basis for all melodic and harmonic material. The technique was first described by Arnold Schoenberg in 1911.[1] The method was used widely throughout the 20th century,[2] although it became widely regarded as an important component of academic modernism.[3][4]

The rows are usually played with all sounds including percussion instruments tuned to equal temperament,[5][6] although other tuning systems have been used (such as just intonation). It is not uncommon for the notes to be written using enharmonic spellings (for example F♯ = G♭) especially when they are shorter than a whole tone; this has led to accusations that dodecaphony is ambiguous and difficult to interpret.[7][8]

The essential idea of the technique is to make all twelve notes of the chromatic scale fundamental, equal, and independent.

The essential idea of the technique is to make all twelve notes of the chromatic scale fundamental, equal, and independent. In other words:

• All twelve tones are fundamentally equal because they can be used in any order.
• All twelve tones are equally fundamental because they have no hierarchy or relationship with each other. However, this does not mean that you cannot use them as part of a larger scale; just don’t let one tone dominate others in your composition!
• All twelve tones should be independent from each other so that they do not sound related to each other—for example, if you played two different keys that were close together (say D major and G flat major), then it would probably sound like one key instead of two separate ones playing at once!

The 12-tone technique was devised by Austrian composer Arnold Schoenberg (1874-1951) as a means of ensuring that all 12 notes of the chromatic scale are given equal importance, and preventing any one note from dominating as the tonic, or key.

The twelve-tone technique, developed by Austrian composer Arnold Schoenberg (1874-1951), was a means of ensuring that all 12 notes of the chromatic scale were given equal importance and preventing any one note from dominating as the tonic or key. Schoenberg’s idea was to remove conventional patterns of harmonic progression and focus on melody instead.

To accomplish this, he devised a method for composing music in which every tone in your piece must be derived from some combination of only 12 other tones: no more than two can come from the same row (which is what makes it “twelve-tone”), but any combination is allowed as long as it doesn’t repeat itself too often. The resulting music sounds harmonically complex at first glance but is actually quite simple compared to other forms: its complexity comes from how many different ways there are to arrange your chosen 12 tones into chords rather than from using nonharmonic tones like triads or seventh chords.

For this reason Schoenberg thought of his innovation as a method rather than a composition style.

For this reason Schoenberg thought of his innovation as a method rather than a composition style. He said that the word ‘stil’ (‘style’) was “out of place in connection with twelve-tone music.”

Many 20th century composers have written works in the 12-tone idiom, including Anton Webern and Alban Berg, both students of Schoenberg’s.

In a nutshell, the 12-tone technique was devised by Austrian composer Arnold Schoenberg. He thought of his innovation as a method rather than a composition style. In other words, it’s not what you write but how you write it that matters.

The method divides an octave into twelve equal parts and then arranges those pitches into ordered rows or series; the rows are then combined to form harmony and melody in traditionally dissonant ways.

Many 20th century composers have written works in the 12-tone idiom, including Anton Webern (1883-1945) and Alban Berg (1885-1935), both students of Schoenberg’s. These include Berg’s opera Wozzeck from 1925 (based on Georg Büchner’s play) and Webern’s Six Pieces for Chamber Orchestra from 1928

One note cannot be repeated until all the other notes have sounded again. This can be more readily understood by looking at a row of numbers in which no number repeats until all others have appeared again.

One of the most important things to remember when using twelve-tone technique is that one note cannot be repeated until all the other notes have sounded again. This can be more readily understood by looking at a row of numbers in which no number repeats until all others have appeared again (in this case, 0, 1, 2 and so on).

This technique was devised by Austrian composer Arnold Schoenberg (1874-1951). The idea behind twelve-tone music was to prevent one note from dominating as the tonic; instead each tone would be given equal emphasis throughout a piece.

Furthermore, once all 12 tones have been sounded they need to be repeated in reverse order before another repetition of the forward order is permitted.

Furthermore, once all 12 tones have been sounded they need to be repeated in reverse order before another repetition of the forward order is permitted. This rule can be broken in certain circumstances, but you will have to ask permission from your teacher before doing so.

The process of writing twelve-tone music is a lot like playing chess: you must decide on all your moves at the beginning and then proceed carefully from there—you cannot make up new rules halfway through. However, if you listen closely enough to the notes being played during a performance by an expert musician like Shostakovich or Schoenberg (or any other expert musicians), it becomes clear that their performances often do not follow this rigid system of rules at all! In fact, breaking these rules is considered part of one’s mastery over twelve-tone music; breaking them correctly is what separates good twelve-tone composers from bad ones!

Schoenberg’s idea was to remove conventional patterns of harmonic progression and focus on melody instead.

Schoenberg’s idea was to remove conventional patterns of harmonic progression and focus on melody instead. A harmonic progression is the use of chords to create a sense of movement in a piece of music. Schoenberg believed that, by removing harmonic progressions from his compositions, he could focus solely on melody.

Melody is the succession of single tones that make up a musical line. You may remember melodic lines from nursery rhymes like “Twinkle, Twinkle Little Star” or “A Frog Went A-Courtin’”! When you sing these songs, you’re singing melodies!

To write twelve tones music you need to use a specific technique

To write twelve-tone music, you need to use a specific technique. The technique is simple:

• Use all 12 tones of the chromatic scale equally
• Make all 12 notes of the chromatic scale fundamental, equal, and independent

So, if you want to write twelve-tone music, you need to use a specific technique that involves inverting the order of your notes. The most important thing is to remember that each note should be treated equally and independent from one another; this will ensure that your piece does not sound boring or repetitive.