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My Compositions and New Composition Methods #2730643
04/21/18 02:41 PM
04/21/18 02:41 PM
Joined: Mar 2018
Posts: 176
R
Roshan Kakiya Offline OP
Full Member
Roshan Kakiya  Offline OP
Full Member
R
Joined: Mar 2018
Posts: 176
My Tonal and Atonal Compositions




All my compositions are also available on my YouTube channel:

http://www.youtube.com/user/RoshanKakiya


Tonal Compositions


roshankakiya123's Composition 1: https://onlinesequencer.net/732363
roshankakiya123's Composition 2: https://onlinesequencer.net/704241
roshankakiya123's Composition 3: https://onlinesequencer.net/704731
roshankakiya123's Composition 4: https://onlinesequencer.net/704243
roshankakiya123's Composition 5: https://onlinesequencer.net/704761
roshankakiya123's Composition 6 (1st Version): https://onlinesequencer.net/704245
roshankakiya123's Composition 6 (2nd Version): https://onlinesequencer.net/730700
roshankakiya123's Composition 7: https://onlinesequencer.net/704250
roshankakiya123's Composition 8: https://onlinesequencer.net/704259
roshankakiya123's Composition 8 (With Alternative Ending): https://onlinesequencer.net/712414
roshankakiya123's Composition 9: https://onlinesequencer.net/732639
roshankakiya123's Composition 10: https://onlinesequencer.net/704254

roshankakiya123's Part of the Piano Street Composition Collaboration:
https://onlinesequencer.net/753196

Influenced by (in no particular order): Rachmaninoff, Liszt, Chopin, Beethoven, Medtner, Debussy, Scriabin and J. S. Bach.


Atonal Compositions


roshankakiya123's 12-Note Chord Composition 1: https://onlinesequencer.net/697399
roshankakiya123's 12-Note Chord Composition 2: https://onlinesequencer.net/697400
roshankakiya123's 12-Note Chord Composition 3: https://onlinesequencer.net/702367
roshankakiya123's 12-Note Chord Composition 4: https://onlinesequencer.net/702082
roshankakiya123's 12-Note Chord Composition 5: https://onlinesequencer.net/718871
roshankakiya123's 12-Note Chord Composition 6: https://onlinesequencer.net/740731

Influenced by (in no particular order): Schoenberg and Scriabin.





My New Composition Methods




Twelve-Tone Matrices: Most Consonant and Most Dissonant



The specific purpose of the experiment below is to test the limits of dodecaphony in terms of consonance and dissonance.


Most Consonant Twelve-Tone Matrix


1. Start with any note on the circle of fifths and include it on a
tone row.
2. Proceed in a clockwise or anticlockwise direction around the
circle of fifths.
3. Add each consecutive note on the tone row until all twelve
tones have been included without being repeated.

For example, if C was chosen in step 1, the original tone row
would be as follows by proceeding clockwise around the circle
of fifths:

C G D A E B F# C# Ab Eb Bb F
7 7 7 7 7 7 7 7 7 7 7 (Number of half-steps needed to get to next note)

4. Create a matrix by calculating all prime, inversion, retrograde
and retrograde inversion forms of the original tone row.

Visit this website to create a matrix automatically:
https://www.musictheory.net/calculators/matrix

5. Conform to the two fundamental rules of twelve-tone
technique:

• Pitch classes should be played in order.
• Once a pitch class has been played, it should not be
repeated until the next tone row is played.

The most consonant symmetrical 12-note chord (Symmetrical pure 12-tone quintal chord) can be produced by superimposing 11 perfect fifths.


Most Dissonant Twelve-Tone Matrix


1. Start with any note on the chromatic scale and include it on a
tone row.
2. Proceed upwards above or downwards below the note
chosen in step 1.
3. Add each consecutive note that is separated by a semitone to
the tone row until all twelve tones have been included
without being repeated.

For example, if C was chosen in step 1, the original tone row
would be as follows by proceeding upwards above C:

C C# D D# E F F# G G# A A# B
1 1 1 1 1 1 1 1 1 1 1

4. Create a matrix by calculating all prime, inversion, retrograde
and retrograde inversion forms of the original tone row.

Visit this website to create a matrix automatically:
https://www.musictheory.net/calculators/matrix

5. Conform to the two fundamental rules of twelve-tone
technique:

• Pitch classes should be played in order.
• Once a pitch class has been played, it should not be
repeated until the next tone row is played.

The most dissonant symmetrical 12-note chord (Symmetrical pure 12-tone secundal chord/Prototypical 12-tone cluster) can be produced by superimposing 11 semitones.



12-Tone Chords: Combining Consonance and Dissonance



My Theories and Methods


A sound that is consonant is not dissonant and a sound that is dissonant is not consonant. This creates a dichotomy between consonance and dissonance. The only way to solve this dichotomy is by combining both. Symmetrical 12-note chords with minimum tension are simultaneously consonant and dissonant so they solve the dichotomy between consonance and dissonance.

All symmetrical 12-note chords can be considered static because each of their notes is equidistant with respect to another, relative to their midpoint, which means all the consonances and dissonances that are present within them have been frozen. This is because the harmony of all symmetrical 12-note chords will gravitate towards their midpoint which means their midpoint can be considered their centre of musical gravity. This means they can be considered stable.

It is possible to create atonal polyphonic compositions based solely on 12-note chords because all 12 tones of each of these chords can be considered simultaneous lines of independent melody. It is possible to use the tone rows of multiple 12-tone matrices. Examples: roshankakiya123's 12-Note Chord Composition 1 and roshankakiya123's 12-Note Chord Composition 2 below.

Furthermore, two different 12-tone matrices can be superimposed by playing the same 12-note chord (first matrix) 12 times in the order of all 12 parallel tone rows of a different 12-tone matrix (second matrix) [Treat each note of the initial 12-note chord as the starting point of each parallel tone row in the second matrix]. This is valid because all 12 parallel tone rows within the second matrix can be played separately and simultaneously in the same direction (upwards, downwards, rightwards or leftwards). This will cause all 12 tones to be played only once within, and in the correct order of, each parallel tone row in the second matrix. Compositions based on this method will be completely atonal because all 12 pitch classes will be played in order and none of the 12 pitch classes will be repeated within any tone row (both of these fundamental rules of 12-tone technique will be strictly followed within the first and the second matrix by using this method). Example: roshankakiya123's 12-Note Chord Composition 3 below.

Moreover, the same 12-note chord can also be played 12 times in the order of its own notes. This is valid because all 12 pitch classes can be played in order and only once within each tone row. This is also valid because overlapping tone rows (Prime with Retrograde Inversion, Inversion with Retrograde, Retrograde with Inversion and Retrograde Inversion with Prime) can be merged to form a single aggregate if symmetrical 12-note chords are used. Examples: roshankakiya123's 12-Note Chord Composition 4, roshankakiya123's 12-Note Chord Composition 5 and roshankakiya123's 12-Note Chord Composition 6 below.

Interestingly, it is impossible to break the fundamental rules of 12-tone technique within the matrix that is produced by a 12-note chord if only 12-note chords are used within a composition. This is because all 12 pitch classes will be played in the correct order of any tone row and none of the 12 pitch classes will be repeated within any tone row within the matrix that is produced by a 12-note chord [Treat each 12-note chord as the original tone row of a 12-tone matrix].

Ideally, the chords and compositions below should be played on instruments using the 12-tone equal temperament tuning system. This is a completely symmetrical form of tuning so it is mathematically perfect for symmetrical 12-note chords. All my theories will fall apart if well temperament and just intonation are used because they are not completely symmetrical. Tuning systems that are not completely symmetrical will destroy the symmetry of symmetrical 12-note chords. However, experimenting with different tuning systems is desirable. The results of these experiments are more important than my theories.

All my methods above unlock new ways of composing atonal music. It is important to note that I have tried to rigorously adhere to the fundamental rules of 12-tone technique throughout this post and construct compositions based solely on symmetrical 12-note chords with minimum tension, with the exception of roshankakiya123's 12-Note Chord 4 which is one of the most tense symmetrical 12-note chords. However, this is only one way of composing. There are numerous possibilities waiting to be discovered with regard to 12-note chords. Therefore, it is now time to start a new musical trend in the 21st century: composing music based solely on 12-note chords.



My Symmetrical 12-Tone Chords


I have superimposed major thirds, minor thirds and perfect fifths to create a 12-note chord. I will call this chord "roshankakiya123's 12-Note Chord 1" (Symmetrical 12-tone tertian and quintal chord):

C G D F# A C# E Ab B Eb Bb F
7 7 4 3 4 3 4 3 4 7 7 (Number of half-steps needed to get to next note)

https://onlinesequencer.net/695480


I have also superimposed major and minor thirds to create another 12-note chord. I will call this chord "roshankakiya123's 12-Note Chord 2" (Symmetrical pure 12-tone tertian chord):

C E Ab B Eb G Bb D F# A C# F
4 4 3 4 4 3 4 4 3 4 4

https://onlinesequencer.net/695482


I have also superimposed major and minor thirds again to create another 12-note chord. I will call this chord "roshankakiya123's 12-Note Chord 3" (Symmetrical pure 12-tone tertian chord):

C Eb F# A C# E G Bb D F Ab B
3 3 3 4 3 3 3 4 3 3 3

https://onlinesequencer.net/718849


I have also superimposed two whole tone scales to create another 12-note chord. I will call this chord "roshankakiya123's 12-Note Chord 4" (Symmetrical pure 12-tone secundal chord) [I have broken my own rules by creating this chord because it is one of the most tense symmetrical 12-note chords. The most tense symmetrical 12-note chord is the prototypical 12-tone cluster which contains 11 semitones]:

C D E F# Ab Bb B C# Eb F G A
2 2 2 2 2 1 2 2 2 2 2

https://onlinesequencer.net/740733


I have also extended Scriabin's Mystic Chord to create two more 12-note chords. I will call the first chord "roshankakiya123's Extended Mystic Chord Arrangement 1" (Symmetrical 12-tone tertian and quartal chord) and the second chord "roshankakiya123's Extended Mystic Chord Arrangement 2" (Symmetrical pure 12-tone quartal chord):

Arrangement 1: C Eb F# Bb E A D G C# F Ab B
3 3 4 6 5 5 5 6 4 3 3

https://onlinesequencer.net/702362

Arrangement 2: Ab C F# Bb E A D G C# F B Eb
4 6 4 6 5 5 5 6 4 6 4

https://onlinesequencer.net/702363

Method and Rationale:

1. Start with Scriabin's Mystic Chord: C F# Bb E A D
6 4 6 5 5

2. Calculate the mirror image of the half-steps: the mirror image of 6 4 6 5 is 5 6 4 6

3. Assemble a 10-note chord by using the mirror image of the half-steps: C F# Bb E A D G C# F B
6 4 6 5 5 5 6 4 6

4. Add the remaining notes Ab and Eb to the chord.

Arrangement 1: I have placed the Eb between C and F# and the Ab between F and B. This is because the Eb and the Ab cannot be placed anywhere else within the first and last note of the 10-note chord above without creating a chord that contains major and/or minor seconds.

Arrangement 2: I have placed the Ab to the left of C and the Eb to the right of B. This arrangement ensures Scriabin's quartal harmony is maintained because it only contains diminished fourths (such as B-Eb), perfect fourths (such as A-D) and augmented fourths (such as C-F#) and no other intervals between each adjacent note.



My 12-Note Chord Compositions


Here are two of my atonal polyphonic compositions based on roshankakiya123's 12-Note Chord 1 (C G D F# A C# E Ab B Eb Bb F), roshankakiya123's 12-Note Chord 2 (C E Ab B Eb G Bb D F# A C# F) and roshankakiya123's Extended Mystic Chord Arrangement 1 (C Eb F# Bb E A D G C# F Ab B). By doing this, I have used tone rows from three different 12-tone matrices:

roshankakiya123's 12-Note Chord Composition 1: https://onlinesequencer.net/697399

roshankakiya123's 12-Note Chord Composition 2: https://onlinesequencer.net/697400


Here is my atonal polyphonic composition that contains two superimposed 12-tone matrices. I have played roshankakiya123's 12-Note Chord 1 (C G D F# A C# E Ab B Eb Bb F) 12 times in the order of the notes of roshankakiya123's Extended Mystic Chord Arrangement 2 (Ab C F# Bb E A D G C# F B Eb) from left to right. By doing this, I have superimposed the 12-tone matrices that both of these 12-note chords produce:

roshankakiya123's 12-Note Chord Composition 3: https://onlinesequencer.net/702367


Here are three of my atonal polyphonic compositions that have been constructed by playing the same 12-note chord in the order of its own notes from left to right. By doing this, I have merged each of the 12 parallel prime rows with its overlapping retrograde inversion row which has led to the creation of 12 aggregates. roshankakiya123's 12-Note Chord Composition 4 is based on roshankakiya123's 12-Note Chord 2 (C E Ab B Eb G Bb D F# A C# F), roshankakiya123's 12-Note Chord Composition 5 is based on roshankakiya123's 12-Note Chord 3 (C Eb F# A C# E G Bb D F Ab B) and roshankakiya123's 12-Note Chord Composition 6 is based on roshankakiya123's 12-Note Chord 4 (C D E F# Ab Bb B C# Eb F G A):

roshankakiya123's 12-Note Chord Composition 4: https://onlinesequencer.net/702082

roshankakiya123's 12-Note Chord Composition 5: https://onlinesequencer.net/718871

roshankakiya123's 12-Note Chord Composition 6: https://onlinesequencer.net/740731

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Re: My Compositions and New Composition Methods [Re: Roshan Kakiya] #2731409
04/24/18 12:17 PM
04/24/18 12:17 PM
Joined: Mar 2018
Posts: 176
R
Roshan Kakiya Offline OP
Full Member
Roshan Kakiya  Offline OP
Full Member
R
Joined: Mar 2018
Posts: 176
Finally, I have superimposed the Tristan Chord and the Mystic Chord to create another 12-note chord. I will call this chord "roshankakiya123's Tristan-Mystic Chord" (Symmetrical pure 12-tone quartal chord):

D G C# F B Eb Ab C F# Bb E A
5 6 4 6 4 5 4 6 4 6 5

https://onlinesequencer.net/798603

Re: My Compositions and New Composition Methods [Re: Roshan Kakiya] #2732945
04/30/18 07:45 AM
04/30/18 07:45 AM
Joined: Mar 2018
Posts: 176
R
Roshan Kakiya Offline OP
Full Member
Roshan Kakiya  Offline OP
Full Member
R
Joined: Mar 2018
Posts: 176
Conclusion:

I think it is possible to emancipate 12-tone technique by creating compositions that are solely based on 12-tone chords. I think it is possible to do this because the rules of 12-tone technique can be enshrined in 12-tone chords which means it is impossible to break them if compositions are solely based on 12-tone chords.

Re: My Compositions and New Composition Methods [Re: Roshan Kakiya] #2733953
05/03/18 08:54 PM
05/03/18 08:54 PM
Joined: Feb 2005
Posts: 3,324
Urbandale, Iowa
S
Steve Chandler Online content
3000 Post Club Member
Steve Chandler  Online Content
3000 Post Club Member
S
Joined: Feb 2005
Posts: 3,324
Urbandale, Iowa
Hi Roshan,

That's a lot of information. I think you would be better served by breaking it up into small bites. I don't have the time to read or listen to it all. Can you suggest a starting point?

Okay, I tried to listen to one of your tonal and one of your atonal pieces. That online sequencer sounds horrible. There's no dynamics, no musicality, no dramatic arc. You seem like a smart guy and you have invented a methodology that I presume works for you, but I just didn't enjoy the music. Good luck.

Re: My Compositions and New Composition Methods [Re: Roshan Kakiya] #2733996
05/04/18 03:50 AM
05/04/18 03:50 AM
Joined: Mar 2018
Posts: 176
R
Roshan Kakiya Offline OP
Full Member
Roshan Kakiya  Offline OP
Full Member
R
Joined: Mar 2018
Posts: 176
Hello Steve,

The starting point should be the top of my original thread. You should read it from top to bottom. I have used bold headings to split everything into sections. You will have read everything after you have read my conclusion.

Online Sequencer seems to have been updated recently. The sound of each of its instruments seems to have been changed. The MIDI files of my compositions that are available on this sequencer should only be used to analyse my compositions. You may enjoy listening to my compositions on my YouTube channel:

http://www.youtube.com/user/RoshanKakiya


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