Dodecaphonic Perpetual Canon for String Quartet.

This canon is based on each of the four contrapuntal transformations of a single dodecaphonic series, initially highlighted in colours corresponding to each of the 12 notes of the tone row. As showcased in the video, said transformations are presented and organized within the melodic line as follows: Original Tone Row - Retrograde - Inverted - Inverted Retrograde.

Even though as a perpetual canon it could technically go on forever and always end up in the same pitch, only two complete repetitions of the whole line are shown here: first the one with highlights and labels for each of the transformations amidst the contrapuntal scaffolding, and lastly the one without any of said indicators. A more tonal-sounding plagal-ish cadence has also been included as a small coda at the end, once the cello completely finishes playing the bass line's 2nd repetition.

Enjoy!

YouTube video link: 

Hi again @Fugax Contrapunctus!

It's quite an interesting idea!  I know you're working with strict tone rows to have produced this, but my ear cries out for some 8th note or 16th note motion in this to relieve from the constant barrage of quarter notes.  I actually like the piano version a bit more than the string quartet because the tempo is a bit slower and allows the ear to absorb the harmonies more.  The ending is also unusual and breaks away from the pattern established in the beginning and is more interesting because of that.  Thanks for sharing!

19 hours ago, PeterthePapercomPoser said:

[...] I actually like the piano version a bit more than the string quartet because the tempo is a bit slower and allows the ear to absorb the harmonies more. [...]

That's certainly interesting. I actually find the piano version less enjoyable due to how mechanical the tempo ended up making it sound. Though the tempo change between both versions was intentional, I found it hard to slow it down even more lest the overall character of the piece turned way too stagnant for most preferences.

19 hours ago, PeterthePapercomPoser said:

[...] The ending is also unusual and breaks away from the pattern established in the beginning and is more interesting because of that. Thanks for sharing!

Indeed, the moral tonal-sounding final cadence was supposed to generate both a sense of conclusiveness and overal contrast as a sort of referential "wink" towards tonality, much like the ones Alban Berg tended to include in many of his own dodecaphonic pieces.

Lastly, thank you for your feedback as always. It's certainly quite refreshing to find out about other pespectives differing from my own on what my compositions may bring to mind this way, without the contrivances and condescending language I have rather occasionally had to endure from other users in this forum less accustomed to the basic etiquette constructive criticism usually demands. Thanks for everything.