The Contemporary Classical Composer's Bullshit Generator
To put it concisely, the diverse forms of any given transcription must never clash with the ultimately chaotic endeavour of recreating modulations wherever possible. The transformation is the single most important element in any dramatic composition, and my own work seeks to explore (and morph) this in the context of 'aria-continuity-improvisations'. The pursuit of theatrical gesture-approaches to challenge the mostly-gestural paradigm is a key focus of my isorhythmic study. This composition presents all sorts of ideas, before performing somewhat graphically, and finishing with an extremely isorhythmic series of 'force-clusters' (as I like to call them). My work is primarily concerned with polytonal sound. I have found that improvisatory systems, in combination with pre-conceived silences enable me to pre-conceivedly compose brand-new frameworks in a highly Stockhausenesque and extremely tonal way.