When I was first introduced to the Serialist movement, the idea of using tone rows as a tool in composition fascinated me. At the same time, many of my fellow students balked at the idea, especially after hearing the music historically composed in such a fashion. When writing Serial Series, I decided to hybridise Serialism with Jazz, Minimalism, and Counterpoint in hopes that I could enrich all traditions involved while simultaneously creating music that even those who generally dislike the Serialist movement would enjoy.
The Jazz movement was perhaps the easiest of the three to write, due to the frequent listenable dissonances inherent in the style. As a result, I was able to build a tone row around the melody, with less concern for the harmonies that would naturally result.
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