4 preludes

Description

The first three preludes follow a ternary form and employ the technique of developing variation introduced by Schoenberg. As a result, the small rhythmic figures are closely interconnected with the chords and modes used, since the piece is dodecaphonic in tonal conception but not serial.
There is a very explicit reference between the third and first preludes. Formally, the first three all share a ternary structure, while the last prelude takes the form of a Rondo with the following layout: A brief Introduction. Refrain. Section A. Verse. Section B. Refrain. Section A (reduced refrain with textural inversion). Verse. Section C (development of sections A and B). Refrain. Section A. Coda.
These preludes are dedicated to my good friend Roberto Pérez Moreno, Principal Clarinetist of the Córdoba Symphony Orchestra and Professor at the Castellón Higher Conservatory of Music.