considered from all perspectives
This work is written in three parts. After a brief introduction, the opening section is built around a 6-tone pitch collection: 2 diminished chords with roots separated by a whole step. The collection of pitches is put through its paces as far as transposition, inversion, and so on, trying to maximize the usefulness of that collection of tones.
The middle section is written from a perspective of “free atonality,” exploring various timbres created by the combinations of different colors, coming back to sound of three Perfect 5ths in Combination: D to A, A to E, and E to B.
The last section makes use of the octotonic (or diminished) scale, wrapping highly angular lines all around the keyboard as the pieces flies to its flourishing finish.