Monday, August 22, 2011


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!

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