_1 'Ron Jarzombek' - '12-tone fragments' writing system
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- Опубліковано 10 лют 2025
- Ron Jarzombek explains the system that was used to compose the Blotted Science EP 'The Animation Of Entomology'. The video is an intro to the video download series 'Dissecting Bugs'.
For more 'Dissecting Bugs' videos go to... www.ronjarzombe....
For more Ron Jarzombek videos go to www.ronjarzombe... and / ronjarz
what I find interesting is that there is ALWAYS a leading tone in all of his sets no matter the size
I love Blotted Science... thank you Ron, your music really hits the spot for me and I am happy to call it my new favorite band
Thank you for being such a genius! You've made our lives easier...
I worked with you at P&H Music in San Antonio! I saw that you toured with Rush and sh&t! Love your take on the 7-string!
Awesome! You've been a huge inspiration for so many year. I'm always looking forward to see more of your work and ideas
I like Blotted Science and I appreciate your chromatic approach to composition. I was wondering, however, if you knew of any group which uses true 12 Tone serialism in their compositions. There is something very unique in the Second Viennese school of pitch organization which I would be very curious to hear in the extreme metal setting. Thank you for your analysis and response.
That's a great question. When I first discovered the whole concept of 12-tone composition, I was also looking for pieces that were written with true 12-tone serialism and barely could find anything, just a few Bartok pieces and a few sample audio clips here and there on the net. That's partly why I just took it upon myself to do whatever I wanted with all 12 notes. To this day I'm still wondering how to use the full blown matrix. Of course I know how to figure it out (and there are even programs/sites out there that will figure it out for you if you give it a row), but where are the pieces written using it? If you find out, let me know...
@@ronjarz - Hey thanks for the reply. I feel the exact way you did, that's why I ended up at your videos. Maybe I'll end up working out some ideas on my own and seeing where it leads me. I'll let you know if anything comes from it. You have great music and amazing chops, by the way. Superb technique. Good evening.
I have been listening to your stuff on Spotify, & just found your you tube channel 😊cool concept I will have to try writing some stuff using this & if I come up with something cool I will post a video on my channel. also I will check out your other videos 👍
The ingenious system, Ron! Very inspirational and unusual. But it's a little bit difficult to pick up a melody for an each fragment. Greetings from Russia.
Man, your take on music is awesome! I mean it. A friend told me about Spastic Ink and I couldn't believe that I never heard of you, I love complex music.
Have you ever published a theory book or something? How can I learn more of this?
Since there really is no "key" how do you decide whether to use # or b names for notes, why are they inconsistent. Is it just whatever comes to mind?
Great question. It depends on what other notes are grouped with the # or b. For example, if you come across B D E and G#/Ab, I'd call the note a G# because I'd likely be working with an A harmonic minor scale. However, if the G#/Ab is grouped with Bb, Eb and F, I'd call it an Ab because then I'd likely be working with an Ab or Eb major scale.
What i still don't get is how do you group your notes? I can't believe you just scatter the 12 tones in a clock and group them by numbers... There must have some intervals or something along the sets of some rules. It doesn't sound off key, nor does it sounds weird
+Chris Pouliot he uses symmetric chords like Diminished 7th chords. This makes the songs feel more rootless (atonal).
If you watch the Oscillations Cycles video after watching this one, you see his 3 groups of 4 are dim7 chords. So yeah, when doing this you gotta be aware of the chords being implied by the groups of notes. If playing around a circle of 12 notes, each subsequent note played has an interval relation to the one played before it, this is important, as it provides the listener with an implied chord, which can either be minor, dim, major, aug, sus, etc. If you played the groups as chords over the licks that use only chord-tones, it wouldn't sound off-key. It might sound discordant, but not off-key.
Obviously this isn't schoenberg's system because he doesn't give equal weight (playing time) to the notes. if you were to have a percentage value for each note of the 12 tones that represented total time played out of the whole song, you would see some notes would have much higher percentages than others. This develops the implied key. Similarly, in our root-ambiguous chords, like diminished 7ths, giving more weight to one note over the others in the chord removes ambiguity about which is the root. This all helps the song sound less atonal and more discordant.
Finally, using principles of voice-leading and harmony, the chord sequence (or progression) can sound smooth rather than choppy and atonal. From two chords next to each other in the chord progression, the first chord's chord tones can be described by their intervals from the root of the next chord in the progression. I can't say there's a general rule here but if you were holding a chord tone from the first chord and the chords change and that note is now the sharp-5 of the second chord, you might not feel that the second chord was the right chord to go to. Catch my drift?
+Chris Pouliot That's pretty much it. Scatter the tones/notes on the clock however you want, section them off into various groups (using all tones/notes), start writing. If you want to get a better idea of how it all works, feel free to pick up a video set...www.ronjarzombekmedia.com
Would you consider giving lessons?
Can i use not 12 notes and only 6 the same way?
Looks very easy when you play it
Hey ron, thanks for the video. what program are you using to see the notes like that?
+ciatatayota Photoshop
Hey Ron, how are you man?
Love your way of doing dodecaphonic music.
I have, some Atonal Experimental Metal (most is just Free Atonal), and one of my music is totally serialism dodecaphonic music, the name is Scalassara Prando - AM 5, if you I want to see (listen) it's in here on UA-cam (on my channel) or on my Bandcamp (the bandcamp is with my last name: Scalassara Prando, and the album is: AM's 0.1). One thing, it's not real instruments playing...
Fucking genious
Lol.. Arnold scroberg
I just...what the hell are you talking about?