The Contemporary Classical Composer's Bullshit Generator
If one concept must be grasped, it is this - the triadic notion always superimposes the sounds, and it must do so entirely triadically. All composers should perceive a variety of reactions, and (if this morphs periodic triads), proceed to influence contrastingly until the best result is achieved. My newest piece develops, orchestrates and symbolically incorporates a massive variety of collaborative relationship-octaves. In short, the rhythm must never visualise the perception. The fact that intervals tend to (at least in their Schoenbergian state), atonally decipher, even in the presence of a strong part, is, you will agree, patently absurd. My goal, in essence, is to contextualise musical gestures.