# Is the 12-tone matrix relevant?



## MJTTOMB

For a basic overview of 12-tone matrices and how they're made, see here. A relatively theory-lite version of it that I wrote for my blog. One of the commenters noted that commonly they'd seen C numbered as 0, etc. but it doesn't really make any difference as long as you stay consistent with your numberings.

Anyway, My question for the whole community to discuss is, are they relevant in modern day? Do they really have that much value? I've asked a few composition students in conservatories and they don't seem to be taught very thoroughly in the curriculum anymore (after all, atonality is apparently dead).

I personally think they're quite interesting. I think using matrices to analyze certain patterns in works by Berg, etc. can be a really enlightening process. One friend pointed out instances where Fibonacci sequences can be found in works by Bartók.

*What are all of your thoughts?*

Attached, a simple matrix of my own.


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## Head_case

I'm not sure. 

What would you like to achieve as an outcome?

Would your outcome, be better achieved, by resorting to a table like this, or without it?


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## MJTTOMB

I'm not certain either. It just seems as though it's a fascinating way of organizing all of the inversions, transpositions and retrogrades of the prime row. It has so much information packed into one table. Naturally, it doesn't do any of the composing for you, but as far as a reference goes it seems like it would be a helpful guide for pitch selection.

Though, one could argue, using such a table could result in music that sounds forced or restricted. Anything that is inspired merely by a 14x14 grid, no matter how brilliantly it is executed, will probably come off as manufactured or inauthentic.

Which is why I ask for input from the community. I think it makes a pretty interesting topic for discussion.


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## Nix

I'd say they're as relevant as Bach four part chorales (well, probably less relevant, but comparable none the less). Good to know the theory, use it in exercise, expand upon it in composition.


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## Rasa

I guess it's relevant as a colour that you might use. Not for the whole work, but certain passages. Let's face it, long dodecaphonic works are dreadfully boring to most people.


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## Meaghan

We studied matrices in the theory class I took this past semester, which was mostly a chronological overview of 19th and 20th century harmony and compositional techniques. We had to create our own matrices and compose short pieces using them, as well as analyze existing 12-tone works. I found working with matrices and analyzing 12-tone music an interesting intellectual exercise, akin to completing a crossword or sudoku puzzle, but it was less meaningful to me than traditional tonal harmonic analysis. I think this was because it had less of a bearing on what I was hearing. The appeal of music theory for me is how it helps me to understand why things sound the way they do, and the patterns I find when analyzing serial works, while interesting discoveries, are not audible to me.


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## Mantas Savickis

You can use 12-tone matrices (dodecaphony) but it is important to remember that you are writing music. It's quite difficult task to get a good result using dodecaphony without breaking rules. That is why some composers started to write in "free dodecaphony" system where rules are broken. I wrote a few pieces in free dodecaphony and still use it in some sections for other compositions (for example my cello solo piece). This is interesting technique but if composers' creativity is limited... this system makes it even more limited.


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