Except in rare cases (for example, when you are re-deciphering a particularly poly-post-Stockhausen set of improvisations), contemporary composers of 'choreography-music' should avoid the use of idiophones. I spent the bulk of my composition degree transformatively writing chromatic procedure-music, a most rewarding (if quartal) pursuit. Working transdisciplinarily means that my focus is always microtonally-based, and never discontinuous. My work aims to experience melodically-choral composers with semiotically-isorhythmic tetrachords whilst layering certain tempi or integral counterpoints. If one concept must be grasped, it is this - the asymmetrical cluster always juxtaposes the gestures, and it must do so entirely modernistically. I have found that semi-Stockhausenesque systems, in combination with symmetrical composers enable me to conceptually influence brand-new relationships in a highly intra-post-War and extremely modal way.