Sinfonia Matrix

  • The Sinfonia Matrix is a practically infinite repository of music, from which the composer may extract countless performance versions for orchestras of any size up to 100 players.
  • This piece uses traditional music notation with no random or chance elements.
  • Performances from the Sinfonia Matrix draw attention to the significance of the individual voice within the community. Each player has his or her own part to play – the idea of a “1st violin section” or “horn section” playing music in unison is not a principle in performances from the Sinfonia Matrix, nor do traditional ideas of Harmony and Counterpoint apply.
  • Each part is related to every other as members of a family or community relate to one another.
  • Most parts are written within the realm of traditional tonality, but the organizational principle of the work is completely serial: In the 100 total parts, all 24 major/minor keys are represented 3 times, all authentic and plagal modes are employed once, along with the 2 whole-tone scales, pentatonic scales, and 12 full chromatic settings.
  • Each player’s part is comprised of an 8-measure signature.
  • During performance, every 8 measures counts as an episode, and every episode is comprised of one of the practically infinite number
    of combinations possible among ensemble members.
  • Each episode follows another in seamless succession.
  • No combination is repeated.
  • When the specified number of episodes selected for performance has been executed, the performance ends.
  • Though it is theoretically possible to present a complete performance of the Sinfonia Matrix, it would take more than 1-septillion years to do so.
  • Therefore, performance versions must be extracted from the Sinfonia Matrix by the composer, each version specifically tailored for the requirements of that commission, based upon precise instrumentation, number of performers, and occasion.
  • Scores extracted for performance are distinguished by number and type of combinations designated for inclusion, tempo, number of movements, and most especially, by careful manipulation of individual dynamics and articulation.

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