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@Rabbival507 The Pitch Class Set Theory is a harmonic languages developed in the XX century in which the most important is the intervalic relationships between the elements of the set (pitches). The starting point is a series of pitches (from one to twelve although you can do little with only one). Let's say: C - Db - F - A... this set is defined by the intervals between the notes (minor second, major third, major third). There are lots of different operations and relationships you can do with it. Transposition, inversion, complementary sets, subsets, supersets, Z-related..... and a long etc.... In summary, it's a different way to organize the pitches to write music. And no, this is not a music you make "by chance" and where "everything is OK". You must control it to express what you want, and not the opposite. From 1900 on, there was a Big Bang of musical languages... (Not only impressionism and atonalism).

This is the first semi-completed piece I've written for my composition masters degree, and the first one where I was told to write something for a specific concert. The brief was to write a guitar duet, maximum 4 minutes. Not having much of a clue about writing for guitar, I just sat down and notes came out and I wrote a piece anyway. This is the first finished draft of it which I will be giving to the players and discussing with them. The idea behind the piece was to have a piece in near constant harmonic and rhythmic movement, always changing in feel, morphing gradually from four beats in a bar to three beats in a bar without any sudden obvious change. The cross noteheads from bars 85-96 will be some sort of percussive effect, and I'll discuss that with the players when I meet them to see which effect fits the best. I'm probably most interested here to see how convincing the harmonies are to people - my tutor liked most of the piece except for a couple phrases, which I have (hopefully) already improved for this draft.