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Ah I see!
Out of interest, do you write anything that combines atonality (at least what would be percieved as atonal) with tonality? I know you said you don't particularly like Bernstein - and to be honest I don't like everything he's written, far from it - but the On the Waterfront Suite combines atonal sections with very tonal sections incredibly well. (Maybe the atonal sections could be defined as merely being very dissonant!?) I think ultimately dissonance should be used as a potent weapon to enhance consonance, but again that's a very personal opinion.
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