.

[ca88313]

.

[fftransform]

I will start the piece with an 11-tone cluster no matter what you give me.  You are just completely ignoring chords and overtones.

[roncesvalles]

A series that reproduces the chromatic scale has the drawback of being symmetrical, which means it has half as many permutations as an asymmetric series.   This could lead to heightened predictability, decreasing the psychoacoustic quality of dissonance.

  The ideal would probably be to mix "dissonance" types, since uniformity eases the job the brain has to do with complex sounds.    The row is important, but the composition of the piece is what is most important.   Often there are multiple permutations of a row at once.   There is some dissonance in using a single chromatic scale as you suggested, but this dissonance is slight compared to superimposing major keys spaced to so-called "dissonant" intervals and alternating these keys in a quasi-random way.   There is a difference between the abstract category of dissonant intervals, which is based on physical properties, and the perception of music, which can adapt to those dissonant intervals (which is why rhythmical dissonance--like some of Stravinsky-- feels less dissonant than complex polyphonic dissonance like a Finnissy, even in cases where the same intervallic relations are being employed).   This is perhaps personal preference, but, for me, harmonic variety adds to the experience of dissonance.    Dissonance as its own end and as a continuity--like Merzbow, perhaps-- does something different from dissonance as an event or theme.

[ca88313]

.

[ca88313]

.