The Contemporary Classical Composer's Bullshit Generator
My latest composition explores the boundaries between analyses and isorhythms, whilst utilising a highly melodic attitude to a traditional, avant-garde interaction. It is understandable that some orchestral composers may advocate the use of acoustic-compositions in their work, concurrently with innovative resonance-continuities, but innovatively, recreating a wider array of chords (or even polychords) is the better approach. As a highly semi-polyrhythmic composer, I explore the connection between awarenesses and tensions, and search for new ways to 'improvise the fundamental'. My work aims to decipher structuredly-instrumental instrumentations with progressively-repetitive instruments whilst visualising certain aerophones or orchestral unities. The tritone is the single most important element in any 12-tone composition, and my own work seeks to explore (and transcribe) this in the context of 'relationship-awareness-silences'. Recently, I have started to embrace processes as a strongly-coherent alternative to established forms of semantic aesthetic-frequencies, which has made my work intellectually periodic.