In this 12-tone system, Schoenberg believed that no tone should be more
important than another in a musical composition. All 12 tones were to be
introduced in an order chosen by the composer. Throughout the composi-
tion, these same tones must recur in the same order in notes or chords. No
tone can recur until all eleven other tones in the series (or tone row) have
recurred.There were a few accepted modifications to this rule. For example, you could
move all the tones up or down by a certain interval, retaining the interval
relationships of the original series. You could even go in reverse (retrograde).This was also the beginning of serialmusic, or serialism, a type of musical
composition based on a particular sequence of pitches, rhythms, dynamics,
or any other element of music that is repeated over and over again through-
out the composition.You don’t have to use Schoenberg’s 12-tone system to compose atonal music,
and you don’t have to write serial music either, but it may be useful to have
some framework other than a key center to help you out.Atonality and instrument realities ...................................................
One good idea in music composition is to write for an instrument or instru-
ments that you have a strong technical knowledge of — it is much easier to
write for a violin if you know what the violin is capable of as an instrument.When composing tonal music, the melody and key center are anchors. Atonal
music can tap into the virtuoso skills of an accomplished musician if you
know the possibilities and limitations of his or her instrument. Certain leaps
of intervals, lengths of phrases, speed of articulation, and musical range and
expression are possible for one instrument but not for another. A cellist can
play an extended legato phrase for endless measures without a pause; a
trombonist needs to take a breath now and then. The trombonist can provide
expression through power and dynamics; the cellist does that through the
many variations of bowing technique.Strange as it may seem, the timbreof instruments is probably more of an
important consideration when writing atonal music. Atonal music doesn’t
provide the listener with an easy pathway through a set of comfortable
expectations. Each new note can be a new statement, development, or resolu-
tion. If you want to enjoy atonal music, you will have to place your undivided
attention on it. It isn’t something that makes much sense as background
music. You will never hear it playing in an elevator or at the grocery store.156 Part III: Harmony and Structure