George Frederick McKay · section 4 of 111

Projects

Project 1 (Organizing groups of sound) · 38

Project 2 (Monophonic texture) · 43

Project 3 (Chordal texture) · 48

Project 4 (Polyphonic texture) · 53

Project 5 (Homophonic texture) · 57

Project 6 (Polythematic texture) · 61

Project 7 (Polyrhythmic texture) · 65

Project 8 (Heterophonic texture) · 70

Project 9 (Story-telling orchestration) · 74

Project 10 (Effective pitch distribution) · 80

Project 11 (Experimenting with various harmonic factors) · 85

Project 12 (Vividness of timbre) · 90

Project 13 (Balancing melodic components for clarity) · 97

Project 14 (Control of dynamics) · 105

Project 15 (Antiphonal techniques) · 114

Project 16 (Motor activity) · 116

Project 17 (Three types of distribution) · 119

Project 18 (Timbre-mixing for subtlety) · 124

Project 19 (Contrasting high and low pitch) · 127

Project 20 (Two types of heterophonic blend) · 130

Project 21 (Extremes of register) · 133

Project 22 (Articulative mixture) · 136

Project 23 (Overlapping) · 138

Project 24 (Pointillism) · 141

Project 25 (Total mixture) · 144

Project 26 (Chord contrasting with line) · 150

Project 27 (Balancing fragmentariness against continuous motion) · 152

Project 28 (Percussion as background) · 155

Project 29 (Strings as background) · 157

Project 30 (Punctuation) · 160

Project 31 (Balancing idiomatic characteristics) · 164

Project 32 (Applying contrast of staccato and legato to melodic line) · 168

Project 33 (Simultaneous staccato and legato) · 168

Project 34 (Expanded choirs) · 174

Project 35 (Exploring "frontier" areas) · 188