Twelve tones, no weighting

Arnold Schoenberg wasn’t the first composer to use elements of serialism, but he was the first to impose a structure this rigid: all twelve notes in the chromatic scale receive (more or less) equal attention, and key signatures as we know them are essentially irrelevant.

Not that I could explain it beyond that point. Fortunately, there is someone who can:

After seeing this for the first time, I mentioned on Twitter that I’d learned more from this half-hour of unconventional pedagogy than from a whole semester of theory. (And it is half an hour, so pour yourself a tall one and settle back.)







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