which will apply throughout the entire duration of the composition and

which will characterize the whole work.

In order that all the parameters may be equal it is necessary

to devise some means of deploying each facet in such a way that not ona

is predninent. This may readily be demonstrated by attempting to

establish in which organized time (in its various aspects of

a system

metre and- organized pitch (whether vertically or horizontally)

and rhythm)

are balanced. After many attempts at this it becomes obvious that this

may only be achieved when the whole work is completed.

Following on from the previous paragraph it ray be asserted

that nowadays the application of the set to formal procedures covers all
those parameters that are susceptible to organization. These parameters

may be itemized as: -

pitch
duration

attack/decay
dynamic
timbre

orientation
time of occurrence

To write a pitch-set is extremely easy due to the universal oxisteuce

of the chromatic scale in western music: in this way sets with twelve

different pitches, nay be established. 'f course, if octave transposition

is also considered, then there are approximately one hundred pitches to

choose fron, which logically implies sets with up to one hundred different

pitches. Duration presents far less opportunity for selection: there

are only some fifty traditional rhythms which are available to the

composer. Attack/decay and dynamic present a further eight or nine

possibilities, timbre somewhat noro and orientation and time of occurrence

only one each. (Of course, all the preceading only to be applied
are

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