considered from all perspectives (4.3 Octave Alternate)
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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.
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.