My composition method shortly:
1) Bi-hexaphonic alternation, that is, dodecaphony organized into two hexaphonic sets of pitches (whole-tone scales) that take turns in the musical sequence. The set applied at one time aggregates an anticipation of resolution by means of an apparent dominant function, though technically an ambiguous polydominant. The eventual transition to the other set is experienced like resolution to a tonic, although it consists technically of multiple alternative quasi-tonics. In other words, the music is ambiguous by nature but it affords a diatonic interpretation.
2) Asynchronous polyphony, a method of spanning experientially tensioned structural arches to phrases, passages and entire compositions. In it two simultaneous phrases, the fixus comprising repeating patterns, and the flexus with patterns shorter than those of the fixus, are set in a counterpointal relation. During the articulation of the phrases, the patterns progress in asynchrony, but the phrases merge at the period of least common multiple of the pattern lengths. That is the point at which the listener’s accumulated completion tension is resolved.
Article draft Bi-hexaphonic alternation and polyphony: A composition technique with affordances for emergent musical experience
