Metacomposition 1, Composition 3 (1-3 for short) was com­posed in March 2016 using a com-

puter program that I wrote in the sum­mer of 2010. 1-3 is the third composition I have made us-

ing this program titled Metacompositio­n 1: Camilla. The program works out the low-level logist-

ics of composing in a set theory para­digm and leaves the high-level design to me.

Listening to 1-3 is like taking a long car trip that passes through six distinctive cities each sep-

arated by empty country­side. The form comprises six main sections. Each section favors a dif-

ferent interval class both melodically and harmonically. Each is separated from its neighboring

section by a long inter­lude where all the interval classes are equally weighted.

Like the scenery in a long car trip, the timbre and register combinations in 1-3 constantly but

gradually change. All seven com­bina­tions of its three timbres (pure, moderate, and rich) occur

in all fifteen combinations of its four registers (SATB), presenting in total 105 (7 × 15) combina-

tions. These combinations, shown below, were ordered by the program to maximize continuity.

The combinatorial timbre scheme accompanies a soloist-like voice throughout. This 'soloist'

voice contrasts with the other voices. All the others have confined ranges and extremely static

timbres with mechanical sounding on/off envelopes and unwavering pitch. In contrast, the

'soloist' presents a tapering envelope and gliding pitch in a free, encompassing range.

Formal outline of Metacomposition 1, Composition 3