The Contemporary Classical Composer's Bullshit Generator
It must be remembered that challenging expressions, especially if they are isomorphic (or even orchestral), should be avoided. All composers should integrate a variety of synchronisations, and (if this generates post-Schoenberg movements), proceed to allow modally until the best result is achieved. The key-signature is the single most important element in any subtractive composition, and my own work seeks to explore (and develop) this in the context of 'key-signature-melody-juxtapositions'. As a highly literal composer, I explore the connection between transcriptions and styles, and search for new ways to 'examine the performance'. Recently, I have started to embrace performers as a strongly-pre-conceived alternative to established forms of intra-collaborative juxtaposition-expressions, which has made my work intra-statically choreographic. My most personal texture always features strongly in any of my chromatic compositions.