What remains if one drops the element of motivic connection in tonal music
and breaks up well-known harmonic sequences? Phrases and simple rhythmic models
within a mode of nine tones, which raises an impression of quasi-tonality as
side effect, are the characteristics of the computer algorithms used here.
Several formal parts grew out of experimentally determined parameters of
variations of these algorithms.
There is no motif at all, different formal parts are tied together by the aforementioned harmonic aspect and two principles of algorhithmic control: a fugato of entry probabilities in two layers (mostly accordion versus strings), that generates the perception of phrases and a direction process determined by sine curves and random walks. The actual parts result from search algorithms with respect to the general principles and some constraints on repetitions, primes and octaves. Permutations and random generators control the few playing techniques and dynamics - these controller types are selected by hand in each part. Developments over longer periods are determined by the emphasis of homophony / polyphony and staccato / legato.