The method of serial composition that I showed you earlier is not the most immediate to deal with but it’s turning out to be very versatile and prone to improvements. Here I am going to explain a solution to avoid the rhythmic monotony of just superimposing patterns having the same meter, such as those I used in previous posts. As an illustrative example, consider the following three patterns
A x . . x
B x x .
C . . . x . x
First, I assign a specific combination of them to the voices I want to overlap
B C B
x x . . . . x . x x x .
|x x . |. . . |x . x |x x . |<============
======>|x . . |x x . |. x x |x . x |. . x |
|x x . . . |. x . x x x . |
|x . . x x |. . x x x . x . . x |
Here we go! It now appears that the method gained a broadened applicability. It would be interesting to apply this kind of musical pattern transformations to simulate a mosaic tessellation like the following “Maya-ish” example, where I used just two patterns (. x x and . x x x).