I've been working on some serial stuff again. Working with multiple row formations. I had a look at the Europeans not just Zimmerman. Anyway I want density and clarity. Stacking too many notes makes them indistinct, yet that is want I want to explore; the point of incomprehensibility. Where there is almost too much to control or understand. I need to skate that edge rather than dwell on either side. For that I need exact notation yet not too fussy either or it becomes an effect. I need the parts to clash and tremolo effects won't do it unless you set up several in opposition. Then its like trying to press a beach-ball into water. Good idea! My procedure involves the use of figuration and separate parts in different rhythmic subdivisions; 4/5/3/2 etc. Discrete rhythms are not used continuously and are broken up. More clash that way. For this technique I explore 5 related rows expanded from 6 note sets with come common elements a 4 note chord C G F# A# This chord generates a lot of intervals actually all of them. I also use these 4 notes: D G# F# B which create different possibilities. I suppose that it is easy to relate any chromatic formation to any other so the sound is important.
This is the basis of harmony--besides my ear.
The use of figuration came late to me. Mostly through my tonal satirical works. On the other hand the melodic force is channeled into a different presentation. At least for me. More on this later!