Composition with Twelve Tones:
The introduction of my method of composing with twelve tones does not facilitate composing; on the contrary, it makes it more difficult. Modernistically-minded beginners often think they should try it before having acquired the necessary technical equipment. This is a great mistake. The restrictions imposed on a composer by the obligation to use only one set in a composition are so severe that they can only be overcome by an imagination which has survived a tremendous number of adventures. Nothing is given by this method; but much is taken away. It has been mentioned that for every new composition a special set of twelve tones has to be invented. Sometimes a set will not fit every condition an experienced composer can foresee, especially in those ideal cases where the set appears at once in the form, character, and phrasing of a theme. Rectifications in the order of tones may then become necessary.
In the first works in which I employed this method, I was not yet convinced that the exclusive use of one set would not result in monotony. Would it allow the creation of a sufficient number of characteristically differentiated themes, phrases, motives, sentences, and other forms? At this time, I used complicated devices to assure variety. But soon I discovered that my fear was unfounded; I could even base a whole opera, Moses and Aaron, solely on one set; and I found that, on the contrary, the more familiar I became with this set the more easily I could draw themes from it. Thus, the truth of my first prediction had received splendid proof. One has to follow the basic set; but, nevertheless, one composes as freely as before.