Page "Density 21.5" Paragraph 3

He continues: " the concept of the perfect fourth or fifth as a referential interval relative to which the tritone requires resolution.

has no relevance at all to Density 21. 5.

" ( p. 17 ) However, there still is a reference point, first in the differentiated minor third, C –( E – F – G )– B.

The second tritone, created by C3 < sub > 1 </ sub >, E-B, C6 < sub > 4 </ sub >, is hierarchically related to the C-G tritone, C6 < sub > 1 </ sub >.

Thus regristral placement is taken into consideration, creating pitches rather than pitch classes.

" My reason for stressing this hierchical distinction between C6 < sub > 1 </ sub >, and C6 < sub > 4 </ sub > is that there is a constant shifting of such distinctions, a constant reinterpretation of structural notes as passing notes and vice versa, and it is through this ambiguity, this perpetual change of function, that the composition unfolds.

This is what the composition is about.

" ( p. 71 )