Nightdreams, a single-movement work for orchestra, is approximately nine and one-half minutes in duration. The concept for Nightdreams evolves from sketching three types of sounds as photographs: melodically oriented sounds, sound-mass texture, and vertical sonorities. A twelve-note set is used to construct the pitch content of the melodically oriented sounds. This set includes the intervals of a m2, M2, m6, and T. Sound-mass textures are constructed from the same intervals that are contained in the twelve-note set plus the addition of a m3 and a P5. Vertical sonorities use the linear aspect of the twelve-note set mapped onto a set of twelve different rhythms which alternate between non-retrogradable and retrogradable. Although the piece is contained in a single move-ment, there are twelve sections, each with its own characteristics.

The six Pieces for Orchestra are short twelve-tone compositions . Each piece is an individual entity in itself, but they all stem from the same twelve-tone row. The method of composition with twelve tones evolved through the works of Arnold Schoenberg (1874-1951). It was utilized by his disciples and has won general acceptance by a wide variety of composers.

Makropterosuus, a single movement composition for full orchestra, is approximately sixteen minutes in duration. The work is scored for piccolo, two flutes, two oboes, two clarinets in B-flat, two tenor trombones, bass trombone, tuba, percussion, and strings. The composition of Makropterosuus involved the development of specialized computational procedures for the generation of melodic and rhythmic data.

Concertino for Orchestra is a one-movement composition of rhapsodic character. The treatment of form and orchestration resembles that of the first movement of a concerto. The piece is in modified sonata form, containing two exposition-development sections. The orchestration employs a wide range of tonal colors, and has been used extensively in this piece to emphasize textural development. Each group of instruments is used individually in solo style, and yet the orchestral tutti never assumes the secondary role of accompaniment.

The Essay for Orchestra combines three contemporary styles of melodic writing into sonata form. The exposition contains three themes. The first theme is a twelve-tone row. Unlike the usual approach to serial writing, the row is used in its original form throughout the piece and is developed by rhythmic alterations. The theme never occurs in its inversion or retrograde. The second theme of the exposition illustrates a chromatic type of melody. The third theme in the exposition is constructed of ascending and descending leaps of perfect fourths interspersed with leaps of thirds and short scale lines. The constant use of this theme throughout the development section provides the composition with a melodic unity.

Sound Study is a composition for large symphony orchestra in the twelve-tone idiom. It is a one-movement, monothematic piece in a large ternary form. The main body of the work is preceded by a long introduction which includes statements of the single thematic idea. The A section of the piece is scherzo-like in character and in a moderate 6/8 tempo. The theme is announced and receives a variety of treatment in this section. The B section is an extensive development of thematic material and utilizes a reverberation effect to be discussed below. A brief return of the A section brings the piece to a close.

The two purpose of this paper are to present an abbreviated study of the following three movements for orchestra, and to examine two different aspects of serial techniques used in the first and last movements respectively. Each movement is basically in the same A B A form; each, however, represents an entirely different approach to composition. Of course there are areas common to all three movements (melodic content, fragmentation, orchestration), and it is hoped that a stylistic continuity is maintained.

Fantasy for Orchestra was first conceived as a symphony in one movement of about twenty minutes duration in sonata-allegra form. It was to include the diversity of moods and materials generally associated with the three, or four movement sonata, or symphony, as had my sonata for violin and piano. The plan of this previous work is as follows: A, Scherzo, B, Closing Theme, Development, A, Slow Movement, B, Closing Theme, Coda.

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