Originally written for Cello and Clarinet, this piece was orchestrated as part of my orchestration studies at Berklee.
This work is based on the idea of orchestrating a contrapuntal dialogue using a selection of pitches which gradually changes as the piece develops.
The selection of pitches is made of two hexads, i.e. 2 sets of 6 notes, in no particular order, using all the 12 pitches of the chromatic scale.
The main constrain is that notes from one set are always at an interval of 6 semitones (tritone) with the corresponding one in the other set.
These sets can be seen as 2 different hexatonic modes, which coexist in a selection.
The modulation from one selection to the next is made by swapping one note from one set with the complementar tritone of the other one.
More details in the commentary