The Matrix

Yesterday, I had a look at the tarantella to derive a row from it. Before you think that writing 12-tone music is so 1950, I should tell you that this isn't 12-tone. Yes, I use a row, but only as a source. I usually divide it into sets that I classify harmonically, and use unordered. Saying that, I like the row that resulted from choosing the important notes from the RH of the tarantella. It's very chromatic, but I mostly chose notes after a leap or a direction change. I was forced to step down to the left hand for the last three notes. Here's the row as it stands:

E Eb C F# D G A Bb F Db B Ab

What I like about it is that it contains every interval, and has an open feel. The set from the discarded version of the concerto was too closed and dissonant. There are seconds there for dissonance when I want it, as well as thirds and fifths for when I don't. As the orchestra is amateur, I need to be mindful of dissonance saturation. This won't sound like Appalachian Spring, but it should have an open airy prairie landscape feel. It will just be more like a prairie at night.

I still need to sit and internalize the row at the piano before I derive the matrix and set classification, and that may have to wait until Wednesday, as I have busy days today and tomorrow, as well as a rehearsal tonight.

I ordered my copy of Parsifal yesterday.