In the piano part, Chou introduces the notes from the rest of the Modal Complex related by symmetry, i.e. remaining notes of the aggregate (E-C#-C-Bb-Ab-Gb). However, he leaves out the notes C, D, and F; F is not to be introduced until the second movement; C and D become important members of the pentatonic set G-A-C-D-F played by the alto flute in measures 5-6. One may wonder how does this pentatonic set fit into Chou’s variable modes system, for no single hexachordal set contains these pitches by themselves. Things become clearer upon analysis. It is visually clear that certain relationships exist between the pair of phrases played by the alto flute and bass clarinet in these four measures. The common tone F serves as a bridge between the two phrases is from this note that a nona-chord is formed from two identical trigrams in opposing directions. The two modes share the same core notes (F, A, Db) - the notes that form the spaces in which the lines of Yin and Yang are
In the piano part, Chou introduces the notes from the rest of the Modal Complex related by symmetry, i.e. remaining notes of the aggregate (E-C#-C-Bb-Ab-Gb). However, he leaves out the notes C, D, and F; F is not to be introduced until the second movement; C and D become important members of the pentatonic set G-A-C-D-F played by the alto flute in measures 5-6. One may wonder how does this pentatonic set fit into Chou’s variable modes system, for no single hexachordal set contains these pitches by themselves. Things become clearer upon analysis. It is visually clear that certain relationships exist between the pair of phrases played by the alto flute and bass clarinet in these four measures. The common tone F serves as a bridge between the two phrases is from this note that a nona-chord is formed from two identical trigrams in opposing directions. The two modes share the same core notes (F, A, Db) - the notes that form the spaces in which the lines of Yin and Yang are