The Contemporary Classical Composer's Bullshit Generator

I build upon the so-called 'analyses of tense passages', and transform them into what I term '12-tone-semantic orchestration-oppositions', which I see as a distinct improvement. Except in rare cases (for example, when you are re-opposing a particularly complex set of recordings), contemporary composers of 'dyad-music' should avoid the use of resonators. In short, the hemiola must never premiere the triad. Rather than acoustically dominating post-serial clusters, I now prefer allowing eclectic types of ensemble, in conjunction with highly chordal substances. I never influence synchronisations, despite the fact that any perception or part can be, and has been interpreted as a rather chromatically-acoustic set of 'transformation-pieces'. It is understandable that some multi-timbral composers may advocate the use of iconic-instruments in their work, concurrently with melodic tritone-narratives, but acoustically, perceiving a wider array of energies (or even passages) is the better approach.