Schoenberg's 12-Tone Technique

Schoenberg (1874-1951) created String Quartet no. 3 (Op. 30) in 1927, after he better developed his twelve-tone technique. This twelve-tone technique was a significant part of atonal music. The twelve-tone technique is in not only the String Quartet, but also Perriot Luniare. Schoenberg shaped his pieces using the twelve-tone technique as well as some past feelings that he felt.
String Quartet no. 3 (Op. 30) consists of four movements:
1. Moderato
2. Adagio
3. Intermezzo: Allegro moderato
4. Rondo: Molto moderato
Schoenberg wrote each piece from either a personal experience or musical influence. This gave meaning to each piece because there was thought involved in the pieces.
For instance, Schoenberg stated that the first movement reminds
Schoenberg use the first violin and the cello to give a border around each phrase. The second violin and the viola played most of the eighth notes. This structure created the flow, but the cello and the first violin created the mood of seriousness, which brought a feeling of suspense. The structure of this piece allows the listener to understand as well as visual of the fairytale of the Ghost
From measure 1-28, harmony switches are clear starting with the violin 1 and violin 2 and ending with viola and cello. When that ends, the piece transitions to a new theme starting at measure 29. Schoenberg structured a new theme between measures 32 and 40. Throughout the rest of the piece, according to Schoenberg, the changes in this movement are “very far-reaching, they even involve the internal organization, modify the order of some details, and combine them with others” (Palmer n.d.). The structures and the transitions helped present the movement beauty.
Intermezzo: Allegro moderato
The viola holds the movement’s theme. In this movement, Schoenberg changed meter of the song. During each meter change, there is different structure as it continues. This change continue until measure 149. As it returns to the main theme of the movement, Schoenberg has some alterations in the theme. These alterations give “way to more fluid, arching bridge melody”
Each instrument has a specific role that it plays in this piece. For instance, the cello is the ground that gives that since of firm sound, which is complimented by both violins. Toward the end, the violins stand out the most. The violins over power the other string instruments. The atonal sounds come the unresolved displayed throughout this