Twelve Tone Split

General

– means to Split the 12 Chromatic Half Steps Equally between the 2 Hands

– this Wild Combination can be Played together, LG then RH or in Various Splits 

– Sounds like a Piano Falling Down the Stairs

– the Difference to Schoenberg’s Atonal 12 Tone Approach of is to go Quicker through the Keys e.g. use it to Thicken a “Sound” (rather than Experiment with Single Chromatic Notes)

– this Technique is used in Composition often as a Atonal Approach, but is can sure be used in Tonal Composition as well

Simple Example

– Yves Type of Question and Answer with 6 Notes at the Left Hand (Q) & 6 Notes at the Right Hand (A)

– you will Notice that All the Notes of the Chromatic Scale are used

– use different Combinations such as Spread it Out differently, Play all together, Reduced etc.

Left Hand 

– F#, Ab, Bb, D, E, F

– means to Play 6 Chromatic Scale Notes together with the Left Hand 

– use the Thumb to Press 2 Notes simultaneously (in this Example E and F)

Right Hand 

– B, C, D, Eb, G, A

– means to Play 6 Chromatic Scale Notes together with the Right Hand 

– use the Thumb again to Press 2 Notes simultaneously (in this Example B and C)

Usage in Composition

– we are Not thinking of a Particular Key since this is a Atonal Approach in the Essence, but it can be Used in a Tonal Composition too

– Usage goes from just Parts, whole Composition to any Emotional Response at a certain Point

1) Most common Way is to Let the Melody Guide the Music

2) Means to Use a Combination of Steps and Leaps in Melody Creation 

3) Then we may Meet /Follow / Support the Melody with a so called “Constant Structure”, which is simply made Up with some Dissonant Intervals (a Combination of m2, aug4, M7 and b9 Intervals)

– this Constant Structure is like a “Preset” and the Interval stays the same while you Follow the Melody

4) you use that same Constant Structure Interval Preset to Follow the Melody 

5) Notice that the Melody Notes itself are Louder than all other Notes

6) Now we can use “Common Tones” to Go away from Dissonance

– means to keep a lot of the Notes of the Classic Chord that Supports the Melody the same, but Change them a little 

Constant Structure

– is a Order of Notes that is Made Up with some Dissonant Intervals 

– this Constant Structure is like a “Preset” and the Interval Remains the same while you Follow the Melody

– so you can Keep Track of so many Notes in the Twelve Tone Split Composition by using different “Presets” of different “Constant Structures”

Common Tone

– you keep a lot of the Notes of the Chord that Support the Melody the same, but Change them a little 

– means you use the Classic Chords per Melody Note with slight Changes

– this serves as a Counterpoint for Dissonant Parts and goes towards Musicality