The melody we are going to use is made in the second hour. The last six notes are an inversion of the first six notes.
We 'transpose' this melody into the fourth hour. The minor seconds remain intact, the major seconds become major thirds. The tritone between note 6 and 7 remains a tritonus. The range has grown to a minor tenth in stead of a major seventh.
Then we transpose the melody in the fifth hour. The major thirds have become quarters now. The tritonus has become a minor third. The range is a major seventh again.
In the seventh hour the minor seconds have become major seconds, the quarters have become minor thirds. Between note 6 and 7 is a tritone again.
In the eighth hour the minor thirds have become major thirds. The tritonus has changed into a major third. The range is a minor ninth.
In the ninth hour the major thirds have become quarters. The tritonus is back. The range is an eleventh.
Let us use this musical material to compose some pieces. We are going back to our main melody in the second hour. In the accompaniment of the left hand we have used second hour chords (1+2 or 2+1). The triads of the accompaniment are a minor third lower in relation to the melody.
Avoid using the same note in in the melody as in the accompanement. C and C sharp doesn'n occur in the chord A flat-F-G. E flat, D, E natural and f doesn't occur in the chord B flat-A-C.
For the melody we use the triads a, b, c and d

a and c are 'minor' triads (1+2), b and d are 'major' triads (2+1).

The last six notes of the melody are an inversion of the first six notes.

For the accompaniment we use triads we labelled as a’, b’, c’ and d’.

These triads are transposed a minor third lower than the triads we used for the melody. These triads occur as chords. We avoid doublings in notes. The melody begin with triad a at the same time with d’ as chord. Together these triads have six different notes. No melody-note occur in the chord in the left hand. It is the same with triad b in the melody and triad a’ in the accompaniment, and the same with triad d and c’, etcetera.
 
Exemple in 4th hour. The triads of the accompaniment are a minor third lower in relation to the melody.
Example in 5th hour. The triads of the accompaniment are a major third and a minor sixth lower in relation to the melody. The steering notes of all the triads of this piece contain all different 12 notes of the chromatic scale.
For the melody we use the triads a, b, c and d. a and c are minor triads (1+5), b and d are major ones (5+1).
The triads a’, b’, c’ and d’ are transposed a major third higher than the melody-triads.
a’’, b’’, c’’ and d’’ are transposed a minor sixth higher than the melody triads.

We also avoid doublings of notes. The notes of a do not occur in the accompaniment-triads a', d' and c', the notes of b do noet occur in chord b', etcetera.

As you can see, we have coloured each first note of each triad red. These notes are the steering-notes. The steering-notes formed a second hour tetrad, 2+1+2, or 0,2,3,5 in Alan Fortes notation. In this tetrad there is no major third, so you can transpose this tetrad 3 times a major third to get all the notes of the chromatic scale. .
This is what we did to create this piece
You can carry out this principle to another level. The tetrads are steered by the 12th hour! The 12th hour is steered by the first hour. The 12th hour you can transpose 4 times to get all the notes of the chromatic scale.

If this principle is audible? We don’t think so, but Mrs. McLeod is very enthusiastic about this principle.

 
Example in 7th hour.
Example in 8th hour.

 Example in the 9th hour. In this piece all the steeringsnotes of the triads of the melody as the triads of the accompaniment covered the chromatic scale. A similar situation as with example in 5th hour.
It is also possible to harmonize a melody with triads of another hour than the hour of the melody. We go back to our melody in the second hour and make a choral of it with chords of the eighth hour.
In the graphic of the 8th hour you can see that the first four notes of the melody, C Csharp E flat and D, are all in a different triads. These triads you can use to harmonize this melody.

C is in the red triad, C sharp in the blue one. E flat is in the yellow triad and D in the green triad.

 
And now we harmonize this melody with 11th hour triads.

We give you the graphic of the 11th hour:

 
 
When you have composed a nice piece with the toneclock principles, send us a score and midi file or mp3 to us. Than we can play it for an world wide audience!