This is a technique of my own invention, with a meaningless name (which, of course, has to do with music). Basically, one makes patches, i.e. segments of 3,4, ... up to 12 notes from the series, in all 4 linear forms. The patches, suitably transposed, are used to interpolate between notes from a ground (some linear form of the series). For instance, if the series is:

A♭  B  C  A  B♭  E♭  D  E  C#  F  F#   G
one may take a patch from the cancer form
G  F#  F  C#  E  D  E♭  B♭   A  C  B  A♭
and interpolate between C and A of the original
A♭  B  C  A  B♭  E♭  D  E  C#  F  F#   G      –>      A♭   B  c  a♭  b  a   B♭  E♭  D  E  C#  F  F#  G
since both the pair ( C A ) and the patch ( F C# E D ) fall 3 semitones; the patch is transposed 5 semitones down.

The parameter anchor reduces the number of patches, roughly by a factor of ten: only initial segments of the linear aspects are considered. Thus, in the example above, ( F C# E D ) would not be allowed(1), but, in order to drop 3 semitones down, one would have to use some transposition of:

(  G  F#  F  C#  E  )   or   (  A♭  B  C  A  B♭  E♭  D  E  C#  F  ),     etc...
These may be called anchored patches.

Patch interpolation may be used for melodic(2) and rhythmical variation ; for instance, the patch ( C A♭ B A ) above might take the same duration as the original notes ( C A ) – precisely the "divisions on a ground" of 16-17th century.

In this program there is interpolation between any two ground notes, in a regular order: first patches of length 3, then patches of length 4, etc. Some of these are not possible, especially with anchored patches; the program then tries longer or shorter patches, and some rhythmical schemes: inserting rests or repeating notes. It may also create chords out of pairs of notes in the patch.

The composition ends on a melodic cadence, emphasized by a preceding rallentando. It is played by piano (sounding the ground repetitively) and by clarinet, playing the patched melody – the divisions. If the divisions contain chords, as they may, one note is taken by the clarinet and one by the piano (these are strictly two tone chords).

I must also stress that there is no harmony constraint in this composition. Any group of notes may be sounded together. The Bruchollerie is in fact a monophonic, melodic form. It could be used in counterpoint, but...


to do