A Phrygian Trifle

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The first two minutes are based on the dramatic tone cluster at the conclusion of John Adams’s “Phrygian Gates” for solo piano. Beyond the two-minute mark, I’m basically in D-sharp minor (the relative of F-sharp major), hence the raised second degree shown in red, which departs from the Phrygian pattern of intervals.

When I “compose,” I don’t generally think much of key signatures, relying instead on my ear. Because of my years of playing B-flat clarinet as a kid, I hear this in E-flat concert pitch (“F” on the clarinet). I originally thought of this piece as being in E-flat minor, but that doesn’t improve things much: we just trade six sharps for six flats. Whoopee.