The Contemporary Classical Composer's Bullshit Generator
The chromatic consequences of transcribing compositions enables the use of a single cadence amongst many binary counterpoints. It is always crucial to influence a sense of 'fermatas of style', never more so than today. Combining cadences, aerophones and analyses (as well as fragmentarily sensing meanings), my overall aesthetic is that of the 'creatively-technological' school of structured analyses. My aim is simple - to premiere all contrapuntal generative-novelties, whilst simultaneously (and soloistically) performing the idea of 'bitonal-hemiola-microtones'. Unlike traditional microtones, I aim to develop perceptions, including a highly theatrical pitch that seeks all notions of choreographic gestures. It is understandable that some modal composers may advocate the use of complex-chord-structures in their work, concurrently with post-Webern tone-row-intervals, but post-serially, allowing a wider array of juxtapositions (or even non-linearities) is the better approach.