This piece is one of my efforts to develop new ways of composing within a modal-tonal context. Everything in it is based the introductory theme, which functions here in a somehow similar manner as dodecaphonic tone row. Variations are produced by traditional polyphonic techniques of inversion and symmetry as well as by serialist procedures.
My idea behind using these techniques and procedures is to preserve interval structures and rhythmic patterns, in order to keep the internal modal-tonal tensions of the theme intact and to play with them.
You will notice that I followed the extreme option to keep the piece strictly diatonic. Chromatic alterations are completely absent from it. No sharp or flat notes at all. In keyboard terms it is for the white keys. I kept to this rather severe restriction because I wanted to explore the internal relations of the diatonic scale.
I had to drop traditional rules on parallels of fifths, &c., however. These rules more than anything else, force the music into the stylistic framework of the classic-romantic era. I followed my intuition in what makes sense here, since much early music is exactly full of such parallels.
I hope all this doesn’t sound too pretentious or bombastic. It is just an effort, an experiment to be judged by musical criteria. One of my most important motives in writing music and thinking about it, is the complex of problems involved in the concepts of the diatonic and chromatic scales: tonality and modality versus atonality.
Here is the Youtube video url: https://youtu.be/-mP7hPKO4Qg Comments, questions, and criticisms are welcome.