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Set theory, Tone clock and the P technique for composers (1)
Journal for Music Theory, volume 7 number 1
February 2002
This article deals with the application of the set-theory in composing. Special
Attention is paid to the 'Positioning technique' ('Ptechnique') developed by the
author for checking the relative proportions of the sub-sets of
a mother's set. Also, differences and similarities between the set theory and the
Peter Schat's Tone Clock technique. Where necessary give footnotes
brief explanations of the set theory. Finally, an appendix is included containing
a number of formulas related to the 'P-technique'.
My use of set-theory
The set-theory is first described in "The Structure of Atonal Music" by
Allen Forte, 1973 (2). Forte is said to have developed the system in
collaboration with composer Babbit, but he used it himself exclusively for the
for the analysis of twentieth century music, including the Second
Viennese School, Stravinsky and Bartok. I myself always see a link with the later
work
by Schoenberg (e.g. the opera Moses and Aaron and the String Trio Op. 45).
In these works, Schönberg still assumes a twelve-tone series, but
he's starting to divide that series into groups that are becoming increasingly free
with
are combined in all kinds of transpositions and inversions and even
different order of notes within the groups, but with preservation of the
"prime -form' (3).
Forte's publications appeared in America in the world of musicology.
It should be noted that many professional music schools and conservatoires in
the U.S. are associated with universities, which means that many musicians and
composers on the
are heightened by the set theory.
The techniques developed exclusively for analysis are sometimes very
academic and for me unusable in composing. Examples of this are
can already be found in Forte's first book, where he elaborately discusses the
phenomenon
"set-complexes" i.e. different groups of sets that are placed on some kind of
way of dealing with each other, e.g. through common sub-sets
or by corresponding interval buildup. The whole subject of the set complexes
(which covers more than half of "The Structure of Atonal Music") turned out to be
actually
a dead end road that Forte himself hasn't gone through either.
I also know of a number of publications of composers in which they discuss their
use of set theory, e.g. "Composition with Pitch-classes" (1987) of
Robert Morris (4) and Generalised Musical Intervals and Transformations (1983)
of David Lewin (5).
However, I think that the techniques described herein are generally too compatible.
with the old compulsive twelve-tone techniques, i.e. on the one hand too
complicated
without leading to audible results and leaving too little space on the other hand
for the composer to give free rein to his personal expression.
The use that I have now come up with as a composer and that I will continue to
make in the future.
of several years of simple techniques, usually assumes
hexachords.
It is "natural" for me (maybe this is due to my background in jazz music) to come
up with six-part chords. That doesn't mean that everyone
momentary six-part music should sound, but it's about basic "sonorities".
that appeal to me. These sonorities can evoke associations with tonal
chords, but classical tonal functions play no role.
Selecting a number of structural hexachords is a first step in the
composition. The six-voice then offers a lot through the set theory.
combination possibilities. There are 10 different segmentations possible in which
the
hexachord is divided into two groups of three, of which I usually only have two.
up to 4 uses. Segmentation in a tetrachord and a diphthong is also possible.
he use what I have now come up with as a composer and what I am going to do in
the course of my career.
of several years of simple techniques, usually assumes
hexachords.
It is "natural" for me (maybe this is due to my background in jazz music) to come
up with six-part chords. That doesn't mean that everyone
momentary six-part music should sound, but it's about basic "sonorities".
that appeal to me. These sonorities can evoke associations with tonal
chords, but classical tonal functions play no role.
Selecting a number of structural hexachords is a first step in the
composition. The six-voice then offers a lot through the set theory.
combination possibilities. There are 10 different segmentations possible in which
the
hexachord is divided into two groups of three, of which I usually only have two.
up to 4 uses. Segmentation in a tetrachord and a diphthong is also possible.
Segmentation into groups of three may be reminiscent of the Tone Clock, and that
is for the purpose of
partly because of course there are many hexachords that occur in two identical
triads are divisible, and in that case an interpretation within the meaning of a
certain time of the tone clock perfectly in place.
However, I myself almost exclusively use segmentations in which two triads of
different type (so different "hours" of the Tone Clock) occur.
In addition, I often use the divisions mentioned in groups of 4 and 2, which are
cannot be interpreted at all according to the timepiece.
In addition to the many segmentation possibilities, the use of hexachords also has
an additional advantage: the complement of a hexachord with respect to the
twelve-tone aggregate (in other words, the six missing tones in the
chromatic spectrum) always forms a hexachord with exactly the same interval
content as the original. It is therefore possible to make extensive use of
complement relations, in which all twelve tones are used, and yet the same
basic sonority is maintained. Because like Peter Schat, I think that interval content
is more decisive for the sonority than the individual notes.
By the way, there is a catch in terms of the complementary
hexachords. I just said that they always have an identical interval content, but that
does not mean that they can always be segmented in the same way.
Of the fifty types of hexchords that exist, only twenty are subject to the
complement is identical to the original, i.e. is a transposition or inversion of
has the original and thus the same prime-form.
For the remaining thirty it applies that they form pairs that are complementary to
each other, that are
have exactly the same interval content, but not reduced to the same prime-form
can be. Forte has a name for this: such sets are "Z-related".
The phenomenon of Z-relation also occurs in smaller sets, but in much lesser cases.
mate. By way of illustration: in the quadrasses (tetrachords) there is only one Z-
relationship to be
between sets 4-15 and 4-29.
I'd like to make this very clear. The set 4-15 has prime-form 0 1 4 6 , for example
represented by C Des E Fis; see Fig.1.1. This is a so-called "all-interval" agreement,
in which all 6 intervals occur exactly once, so with interval vector 111111
(Figure 1.2). (6).
The Z-related set 4-29 also has interval vector 111111, so also holds all
intervals, but it has another prime-form, namely 0137 (Fig. 1.3.).
Figure 1.4 shows a different appearance of 4-29, with normal order 7 6 4
0 (i.e. a transposition and also inversion).
Sets 4-15 and 4-29 cannot be traced back to each other.
Figure 1.1
The set 4-15
Figure 1.2
Intervals in the set 4-15 (expressed in small seconds);
interval vector 111111 ('all interval tetrachord')
Figure 1.3
Figure 1.2
Intervals in the set 4-15 (expressed in small seconds);
interval vector 111111 ('all interval tetrachord')
Figure 1.3
The set 4-29 ( also 'all-interval').
Figure 1.4
Random other appearance of 4-29, normal order 7640
At the hexachords you will not have the thirty Z-related hexachords on exactly
The other twenty can be segmented in the same way.
Sometimes I choose a symmetrical hexachord of which the complement to
can be segmented in the same way (the controls lead out of the timepiece).
sometimes I deliberately choose a Zhexachord to ensure that the complement can
take on a different form because
I'm just trying to break the symmetry at that point.
("To be perfectly symmetrical is to be perfectly dead" said Stravinsky already in one
of his conversations with Robert Craft.) (7)
The first thing you need now is a notation to describe the segmentations, a
notation that is as short and concise as possible, but completely unambiguous and
no
leaves room for misunderstanding.
I found that notation in the use of the letter "p". P' stands for 'position' or
Positioning.
The relation between two random sets (of any number of notes and any number of
notes).
transposition or inversion) can be very briefly described as 'p' followed by a
number.
This number indicates the distance between the second set and the first set.
is placed, expressed in a number of small seconds. The distance is always
measured between the first notes of the "normal order" (8) of each set. In case
the second set is an inversion of a prime-form, then after the p a (i )
by the way.
I can illustrate this as follows:
The hexachord 6-5, used by Schoenberg in his Variationen für Orchestra opus
31, and used by myself in Square Roots (9) has as prime-form 012367. One
representation of that which I have in my piece as one of several possibilities
is used the segmentation in 3-2 and 3-4 or if you want second and fourth hour,
For example, Fis F Gis / C G B. The narrowest location of these nuts produces the
prime-form 012367, transposed to F (see Fig.2.1) (10)
Figure 2.1
Segementation 6-5: 3-2/3-4 p(i)7 and associated normal order.
I want to describe this segmentation in such a way that I can easily apply it to
other transpositions and inversions. I am now using the P notation for that
purpose:
3-4 is in this case at a distance of 7 (small seconds) from 3-2,
but appears in the form of an inversion, beginning with C.(11) The description
of this segmentation is: 3-2/3-4 p (i) 7.
Now I can quickly find the matching 3-4 for every form of 3-2 and vice versa for
each 3-4 the corresponding 3-2, which together yield the same sonority as my
original hexachord. In addition, of course I also have the opportunity to
other segmentations of the hexachord.
It is interesting if one of the constituent sets of a segmentation is a
Figure 2.1
Segementation 6-5: 3-2/3-4 p(i)7 and associated normal order.
I want to describe this segmentation in such a way that I can easily apply it to
other transpositions and inversions. I am now using the P notation for that
purpose:
3-4 is in this case at a distance of 7 (small seconds) from 3-2,
but appears in the form of an inversion, beginning with C.(11) The description
of this segmentation is: 3-2/3-4 p (i) 7.
Now I can quickly find the matching 3-4 for every form of 3-2 and vice versa for
each 3-4 the corresponding 3-2, which together yield the same sonority as my
original hexachord. In addition, of course I also have the opportunity to
other segmentations of the hexachord.
It is interesting if one of the constituent sets of a segmentation is a
symmetrical set, i.e. the reversal of which after transposition is identical to the
original. For example, the 3-9 triad, the ninth hour, with prime-form 0 2 7.
C-D-G is a 3-9 triad, but the reversal D-C-G is identical. In that
In this case, the P-relationship can be applied in two ways: in an upward direction
from C or in descending direction from D, with the same type of hexachord as
result.
If I choose a segmentation in two-tone and tetrachord, I have the comfortable
situation where a diphthong is always symmetrical. The positioning of the
tetrachord
can always be done in two ways with the same type of hexachord as
result. I will before I return to the Tone Clock and the concept of "steering"
give another example of such a segmentation into diphthongs and quadruplets,
that I used in Square Roots.
In addition to the 6-5 mentioned, the 6-19 hexachord with prime-form 013478 was
also one of the
of the structural sonorities of the piece. It can be segmented, for example, as
two 3-11 sets at a small second distance (3-11/3-11 p 1) as shown in Figure 2.2 .
But also as a 2-5 diphthong with the octatonic 4-17 (with prime form 0 3 4
7 ) tetrachord added at a tritonus distance, or in a positioning p6.
Because, as said before, every diphthong is symmetrical, there are always in
relation to the
of each selected 2-5 diphthongs two 4-17 and possibly both the desired
hexachord. In one case the 2-5 is measured from E descending, in the other the 2-
5 is measured from E descending.
from B in the upward direction (see Fig. 2, numbers 2,3,4)
Figure 2.2
Segmentation 6-19: 3-11/3-11 p1.
Figure 2.3
Two segmentations 6-19: 2-5/4-17 p6 with the same 2-5.
Figure 2.4
The normal orders of 6-19, belonging to the segmentations in Figure 2.3
8. The 'normal order' of a set is the most compact location within an octave, not as transposed with the prime form.
to 0 but won starting from the actual first note.
9. Square Roots is written for the Radio Philharmonic Orchestra and premiered on February 25, 2001 in the
Concertgebouw of Amsterdam.
10. I have used this segmentation in my piece as one of several possibilities.
11. An 'inversion' in the set theory means: the reflection of a set with respect to a symmetry axis so that the intervals
are not measured from low to high, but from high to low. An inversion has twelve transposition levels, depending on
of the selected symmetry axis.
8. The 'normal order' of a set is the most compact location within an octave, not as transposed with the prime form.
to 0 but won starting from the actual first note.
9. Square Roots is written for the Radio Philharmonic Orchestra and premiered on February 25, 2001 in the
Concertgebouw of Amsterdam.
10. I have used this segmentation in my piece as one of several possibilities.
11. An 'inversion' in the set theory means: the reflection of a set with respect to a symmetry axis so that the intervals
are not measured from low to high, but from high to low. An inversion has twelve transposition levels, depending on
of the selected symmetry axis.
V
Example 1
Square Roots, m. 327-334. Application of the segmentation in Figure 2.3
Example 2
Square Roots, m. 361-364
Example 1 is a piece of score from Square Roots that shows how the 2-5
or the pure quarter in the bass makes a rising movement, while in the
the two corresponding 4-17 tetrachords are tuned in a mixed position
alternate. In example 2, marimba and flute play against the same
harmonic background and a melody.
Set theory and tone clock
Set-theory and timepiece are largely based on the same principles.
Much has already been said about the timepiece at the Symposium De Toonklok in
Perspectief,
and a lot written down by Peter Schat. I will therefore now focus on the
most obvious differences between set-theory and the timepiece.
First of all, this is of course the fact that the timepiece is based on triads, whereas
in
the set-theory also other harmonics such as tetrachords and hexachords can be
used.
be appointed
Tetrachords do occur implicitly in the timepiece as a control of the hours, but
there are only a limited number of them that are not treated as independent
sounds
Set theory and tone clock
Set-theory and timepiece are largely based on the same principles.
Much has already been said about the timepiece at the Symposium De Toonklok in
Perspectief,
and a lot written down by Peter Schat. I will therefore now focus on the
most obvious differences between set-theory and the timepiece.
First of all, this is of course the fact that the timepiece is based on triads, whereas
in
the set-theory also other harmonics such as tetrachords and hexachords can be
used.
are appointed.
Tetrachords do occur implicitly in the timepiece as a control of the hours, but
there are only a limited number of them that are not treated as independent
sounds
...are. In addition, in the English version of 'The Tone Clock', the Treasure mentions
110 the seven tetrachords that on their own can do the twelve-tone spectrum
but the remaining 22 tetrachords and all hexachords in so far as they are
are not composed of two identical triads do not arrive in the timbre
bid (12).
Then there is the concept of 'control' (13). Peter rightly states that "control" is
central
is in the Tone Clock because it creates a mobility and frees us from
static, utterly lost harmonies.
However, I have tried to show in the foregoing that it is not the set-theory
a lack of direction, as Peter raised as one of his objections in the discussion
in the Journal of Music Theory. In fact, you could say that my Ptechnique or
"positioning" technique is the equivalent of control.
However, I have not restricted my P-technique to those controls that can be used
for the entire
chromatic spectrum into uniform triads. With the P-technique
can also be triads of different types, quadrasses and hexachords
...to be sent.
The exact meaning of the term 'steering' is always somewhat unclear.
since there's been both prime-forms and inversions of the
triads occur in which the "steering tone" is not always the same chosen one.
...is.
Gerrit de Marez Oyens appeared in his article "The mates of the tone clock" in the
Journal for Music Theory from November 1997 to 38 different controls for
tone clock hours instead of the maximum of 28 that Peter had
proposed (14). In his book "Composing Heaven" by Peter Schat we read that
even read how an NRC subscriber to the challenge to release new controllers
The Commission's proposal to find no less than 101 alternatives (15).
In my opinion, the P-notation is the
appropriate means:
The so-called "third hour control of the eighth hour" can, for example, be used in
the extremely short
formula 3-8 p1 are fixed without having to add bells or staves.
The following table shows the following information for the purpose of this
document. The eleventh hour control of that same eighth hour can be
described as 3-8 p (i)10 (see Fig.3.2). (16)
Figure 3.1
Third hour control of the eighth hour' ( from The Tone Clock); description: 3-8 p1.
Figure 3.2
Eleventh hour control': description: 3-8 p(i)10.
In both cases, and this also applies to all other controls, the description of the
of the segmentation of one hexachord the complete control of the hour is recorded,
because the remaining complementary hexachord of this is always an inversion
which
is segmented in the same way.
"3-8 p(i)10" sounds a bit more prosaic than "steering through the eleventh hour" of
course, but
describes more precisely the structure of the whole. This brings me to the
Next: The use of numbers in the set theory has for some people a
deterrent effect.
Here I have to think of an article in Vrij Nederland (May 2001) in which
was that the well-known English physicist Stephen Hawking was to have his
publisher
Figure 3.2
Eleventh hour control': description: 3-8 p(i)10.
In both cases, and this also applies to all other controls, the description of the
of the segmentation of one hexachord the complete control of the hour is recorded,
because the remaining complementary hexachord of this is always an inversion
which
is segmented in the same way.
"3-8 p(i)10" sounds a bit more prosaic than "steering through the eleventh hour" of
course, but
describes more precisely the structure of the whole. This brings me to the
Next: The use of numbers in the set theory has for some people a
deterrent effect.
Here I have to think of an article in Vrij Nederland (May 2001) in which
was that the well-known English physicist Stephen Hawking was to have his
publisher
was asked not to use any more formulas in his books, because "any
formula you use halves the number of readers".
However, the set theory does not have to be that serious. The use of numbers
is very limited and does not go far beyond primary school level. You can do it like
this
simple or as complicated as you want, and if you want it to be very complicated...
it will never be able to exceed the level of difficulty of writing.
of a three-part fugue, which you used to be able to do as a composer (now
Unfortunately no more).
As far as I am concerned, there is no objection to the term '11th-hour steering'
being used to refer to the
but it's all about the ability to use other controls as well.
describe, for example, non-symmetrical, or assuming tetrachords, or
dissimilar segmentations of hexachords, or ultimately also controls in which
not all twelve tones are covered or just more than 12 tones or
prevent tone duplication.
The controls described by the Tone Clock form a very charming system of
sound fields, charming by its symmetry and consistency. That it's very good to
have
is proven by the valuable oeuvre of Peter Schat.
The question of whether from now on everyone could work with only the timepiece
must be answered.
to answer me in the negative, at least as far as I'm concerned.
I would like to end my lecture with the statement: "Close timepiece and set-
theory".
not one another, but overlapping; the area covered by the
set-theory, however, is much more extensive and includes the Tone Clock."
Appendix: Some formulas for the P-technique
The P-technique describes the relationship between two sets of S1 and S2. S1 and
S2 can be
have any desired size, location and set type, and they do not need an equal
number of elements. The sets are reduced to their "normal order" (see footnote 8)
and then the distance between the first notes is reduced.
is measured and expressed in the number of small seconds k (0<=k<=11).
The position of the two sets in relation to each other is then unambiguous.
described by the "P-notation" : set type 1/ set type 2 p k where the set types are
described by the name of the "prime-form" (3) of the set.
If one of the sets is an inversion of its prime-form, the number k
a (i) has been placed. If both sets are inversions of their prime-form, the (i)
unnecessary.
A random example:
Figure 4
Segmentation of a spleen as 3-3/4-18 p2.
Fig. 4 shows a seven-part chord that is already segmented in a triad
of type 3-3 in the bass and a quadruple of type 4-18 on the treble. The
normal-orders of the two sets are
3-3: ( 6 7 10) and 4-18: (8 9 0 3) (footnote 4). The distance between the start
tones of
so the normal orders are 2. The total sound can therefore be described in P-
notation.
as 3-3/ 4-18 p 2. A (i) is superfluous here as neither set has a
inversion of his prime
Figure 4
Segmentation of a spleen as 3-3/4-18 p2.
Fig. 4 shows a seven-part chord that is already segmented in a triad
of type 3-3 in the bass and a quadruple of type 4-18 on the treble. The
normal-orders of the two sets are
3-3: ( 6 7 10) and 4-18: (8 9 0 3) (footnote 4). The distance between the start
tones of
so the normal orders are 2. The total sound can therefore be described in P-
notation.
as 3-3/ 4-18 p 2. A (i) is superfluous here as neither set has a
inversion of its prime-form (both sets are transpositions of their prime-form).
The P-notation immediately produces a large number of related sounds, starting
from
every 3-3 or 4-18 (in every transposition or inversion).
It is also important to note that the relationship between the two sets of equipment
is
can be described: assuming S1 or assuming S2. In addition, if
the P-notation 's1/ s2 p k' applies, therefore
"s2/ s1 p (12-k)" (assuming S2). I have here in the P-notation the set-types
proposed by a small s, distinguishing the capital letter S which stands for
the actual representation of this type.
In case one of the two sets is an inversion and therefore in the P-notation there is
an (i)
appears, the notation is reciprocal, i.e. : s1/ s2 p (i) k also implies s2/ s1
p(i) k.
Prime-position
As described in my lecture, the P-notation is usually used to describe the
segmentation of a harmony, for example a hexachord, into two subsets to
describe. (17)
In the rest of a composition, it can happen that one already has to go over the
has the following hexachord, but not yet one of the two constituent subsets
is known. In those cases, it is useful to know how each of the two subsets
is placed within the hexachord. This is what I call the "prime-position" of the
subset,
because it gives the location of the prime-forms of subset and "motherset" with
respect to
...to each other.
The notation is simply based on the P- notation: the set type of the "motherset".
followed by the set type of subset, followed by: pp k, where pp stands for
prime-position and k for the distance (expressed in small seconds) between the
first
note from the mother set (in normal order) and the first note from the subset (in
normal order).
order). Again, if one of the two sets appears in inversion, a (i)
is inserted for the k.
For example, the 3-4 in Fig. 2.1 consists (in normal order) of the notes C B G (0 11
7). The first note of this is at a distance of 7 from the beginning of the mother's set.
6-5, here in normal order (5 6 7 8 11 0). 3-4 occurs here as an inversion.
The prime-position notation is: 6-5: 3-4 pp (i)7.
By the way, I sometimes use the segmentation of a hexachord in two
subsets a description where the prime-position of one of the subsets is already
between
The following is mentioned in parentheses. In the above example, this could be the
case:
6-5: 3-2 (pp 0) / 3-4 p (i)7.
the use of P-notation for sound fields
The P-note can be used to describe sound fields. In doing so, one must
for example, think of the positioning of larger sets (with 6 or more
elements) in relation to each other. Usually not all the notes from these sets
can be used at the same time, because there are simply too many notes at the
same time.
...sound. An interesting possibility is then to use set-theory
to define conditions under which small groups of notes from both
larger sets can be selected.
An example: in my composition "La Bonne Chanson" for orchestra and mezzo-
soprano (18) I have often used the super-symmetrical set 6-20 with
primeform (0 1 4 5 8 9 ).
I defined a sound field with the rules: On the bass side a triad of the
type 3-5 (0 1 5), selected from a certain 6-20 set. This is a good thing, because
every
6-20 set contains 6 different 3-5 subsets. I'll put it on top of that: quadruplets of
the
type 4-17 or 4-19, chosen from the complementary 6-20 set that are located in P-
notation to
the first set equals 6-20/6-20 p 2. Coincidentally, the 6-20 set is so symmetrical
that I could also have chosen the notations p6, p10, p(i)3, p(i)7 or p(i)11 which are
all describe the same collection of nuts. I'm still experimenting.
The sound fields, composed of less symmetrical sets.
to define conditions under which small groups of notes from both
larger sets can be selected.
An example: in my composition "La Bonne Chanson" for orchestra and mezzo-
soprano (18) I have often used the super-symmetrical set 6-20 with
primeform (0 1 4 5 8 9 ).
I defined a sound field with the rules: On the bass side a triad of the
type 3-5 (0 1 5), selected from a certain 6-20 set. This is a good thing, because
every
6-20 set contains 6 different 3-5 subsets. I'll put it on top of that: quadruplets of
the
type 4-17 or 4-19, chosen from the complementary 6-20 set that are located in P-
notation to
the first set equals 6-20/6-20 p 2. Coincidentally, the 6-20 set is so symmetrical
that I could also have chosen the notations p6, p10, p(i)3, p(i)7 or p(i)11 which are
all describe the same collection of nuts. I'm still experimenting.
with sound fields, composed of less symmetrical sets.
Transposition and inversion
For the sake of completeness, I'll give some formulas that can be useful in certain
cases
in the application of the P-technique. This is all about finding
pairs Set 1/ Set 2 that together provide a predetermined sonority.
In case of transposition of Set 1 over a distance t (0<=t<=11, expressed in
seconds), then the corresponding Set 2 will also be set over a distance t
must be transposed in order to obtain a chord that complies with the
P-notation s1/s2 p k.
However, Set 1 is not transposed but converted into an inversion, starting from
a distance m (which can be described as p(i)m), then there are two
ways to find the new matching Set 2.
You can simply express the new Set 1 in note names or numbers and
then derive the new Set 2 from the P-note; this is usually the quickest way.
In addition, you can deduce the new Set 2 directly from the original Set 2 using the
formula p(i) ( m-2k). This formula then indicates the relation between the
original Set 2 and the new Set 2.
In case the P-notation contains an (i) (i.e. Set 2 is in an inversion with respect to
Set 1).
is) the formula is: p(i) 2k-m. These formulas are only useful for
pre-planned transposition and inversion patterns of larger sets.
footnotes:
1. This article is for the most part based on the reading I gave on 21 May 2001.
on the occasion of the mini-symposium "The Tone Clock in Perspective" held around
Peter Schat in Vredenburg, organized by MuziekGroep Nederland and the
University of Utrecht.
The first part of this lecture in which I explained the principles of set-theory
has been omitted here because these principles are already known in literature and
also
are discussed in my first article in the Tijdschrift voor de Muziektheorie:
"Lux et Veritas: the set theory and its applications for composers" ,
Journal for Music Theory 2/2 (1997)
2. Allen Forte The Structure of Atonal Music. New Haven 1973
3. the prime-form of a set is the most compact position within the octave,
transposed to an imaginary datum so that the first note with the number 0
can be indicated
find as an attachment to my previous article in the Tijdschrift voor Muziektheorie
2/2
(1997) It is well known that in the set-theory the note names are replaced by the
numbers 0 to 11, where C=0, C#=1, D=2 etc. to B=11.
4. Robert D. Morris Composition with pitch-classes. New Haven 1987
5. David Lewin Generalised musical intervals and transformations. New Haven 1987
6. the six digits of the 'interval vector' indicate, in turn, the number of
minor seconds, major seconds, minor thirds, major thirds, pure fourths and
tritonuses that appear in a set.
7. Igor Stravinsky and Robert Craft Conversations with Igor Stravinsky. London
1972
8. the "normal order" of a set is the most compact location within an octave,
not as in the prime-form transposed to 0 but just starting on the
actually occurring first note.
9. Square Roots was written for the Radio Philharmonic Orchestra and went on to
play
25-3-01 premiered in the Concertgebouw in Amsterdam
10. this segmentation I have in my piece as one of several possibilities
used.
11. An 'inversion' in the set theory means: the reflection of a set of tenths of the
relative to a symmetry axis so that the intervals are not from low to high but
minor seconds, major seconds, minor thirds, major thirds, pure fourths and
tritonuses that appear in a set.
7. Igor Stravinsky and Robert Craft Conversations with Igor Stravinsky. London
1972
8. the "normal order" of a set is the most compact location within an octave,
not as in the prime-form transposed to 0 but just starting on the
actually occurring first note.
9. Square Roots was written for the Radio Philharmonic Orchestra and went on to
play
25-3-01 premiered in the Concertgebouw in Amsterdam
10. this segmentation I have in my piece as one of several possibilities
used.
11. An 'inversion' in the set theory means: the reflection of a set of tenths of the
relative to a symmetry axis so that the intervals are not from low to high but
are measured from high to low. An inversion has twelve transposition levels,
depending on the selected symmetry axis.
12. Peter Schat The tone clock, Harwood 1993, p. 110.
13. Steering' is a term with which Peter Schat indicates how each of the twelve
types of triads through a series of transpositions and inversions without tone
repetition
can cover the entire twelve-tone spectrum.
14. Gerrit de Marez Oyens Toonclock Mates, TvM 2/3 1997
15. Peter Schat Composing the Heaven Amsterdam 1999
16. In P-notation the description of all controls of the timepiece is as follows
described in De Toonklok (Amsterdam 1984):
10-e hour control of the 1-e hour: 3-1 p 3
8th hour control of the 2nd hour: 3-2 p 2
7-e and 5-e hours control of the 3-e hour: 3-3 p 2 and p (i) 3
6-e, 8-e and 10-e hour steering of the 4-e hour: 3-4 p 2 , p (i) 3 and p 3
2-hour control of the 5-hour: 3-5 p (i) 8
10-e and 5-e hour control of the 6-e hour: 3-6 p3 and p 1
8th hour control of the 7th hour: 3-8 p (i) 9
3-e and 11-e hour control of the 8-e hour: 3-8 p 1 and p (i) 10
2nd hour steering of the 9th hour: 3-9 p (i) 8
1-hour control of the 10-e hour: 4-28 p1
6-e and 8-e hours control of the 11-e hour 3-11 p 2 and p (i) 5
1-e, 2-e, 5-e, 7-e and 10-e hour steering of the 12-e hour: 3-12 p1, p2 and p3 (2
variants)
17. a 'subset' means a name for each smaller set that forms part of the
"motherset".
18. Performed on the Dutch Music Days 2001
19. Obviously, t-2k must be reduced to a number between 0 and 11,
i.e. "modulo 12", see also my previous article.