The late 70s were probably the golden age of musical "set theory" (better described as "musical combinatorics").  Twelve-tone theory had evolved to great maturity by then, still few yet found the associated music in any way retardataire.  But computers were slow then, difficult to program, and confined to large institutions.  Thus the answers to many simple, musically meaningful questions remained unattainable.  Now (with Moore's Law flattening) should be the golden age!

All-interval rows have been around for more than a century.   Morris and Starr could enumerate them all in 1974 --- starting on pitch class 0, there exist 3856.  

This piece works with a special, and essentially unique pair of such, namely
[0 11 19 25 28 38 39 44 46 53 57 66 ]
[0  4  7 15 22 32 33 35 41 50 61 66 ].
Traditionally, twelve-tone rows order pitch classes in *time*, and that leaves register as either a free and expressive dimension or else a parameter that the composer may control by other means.   In this piece the rows order the register of the tones, thereby determining two twelve note chords (hence my choice above not to reduce mod 12).  

Any chord built up from an all-interval row will span exactly 5 1/2 octaves; and these two all interval rows, taken together, their union divides those 5 1/2 octaves more evenly than will any other pair (save their inversions, of course).  

The result is, paradoxically, maximal harmonic contrast between two full aggregate chords.   With the rows controlling register,  the two chords get broken melodically in myriads of ways.  Structurally they push against each other, blurring any hard distinction between the linear and vertical, or, if you will, the melodic and the harmonic.

(Of course bad puns in the title are a doff of the hat to Milton Babbitt.)

A Tier of Two Series (piano and marimba)

do NOT translate 海里死

https://drive.google.com/file/d/1ZHAgPJGKmTP8uuk0Fa_andK3yQt_7_eN/view?usp=sharing

died in the ocean

Un tributo a mi escritor favorito, Edgar Allan Poe, específicamente su relato "La mascara de la muerte roja". Está pieza la elaboré usando la teoría de conjuntos, es de naturaleza fragmentaria y tuve la intención de mantener una atmosfera dramática y tensa constante.

La Muerte Roja

Composer and electronic musician
Musico compositor y electrónico  
Las piezas acústicas (a excepción de Jazz ¿te extraño?) son instrumentos virtuales. 
https://open.spotify.com/artist/0zldDHmuTyORjK7Za6zJw3

Composer, mathematician, visual artist. 
Seeks collaboration with performers and choreographers.

Please don't spam this account!

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