Since I began studying composition, I have been intrigued by the idea of building a system of harmony based on principles other than the standard tertian method (which I refer to in my notation as “3”). I wondered: is it possible to construct chords not by randomly selecting notes, but through a consistent and clearly defined principle? What could such a principle look like? How many such systems might exist? Can they be combined, rearranged, or freely modified?

Many of the answers to these questions emerged through the creation of this collection—and others that followed. As it turns out, the topic is far broader and richer than I initially imagined. Theoretically, one can develop any number of ways to organize pitches. Naturally, this raises the question: is such music playable? And more importantly—will it sound good? While the answer is, of course, subjective, the best way to explore this is to perform the pieces and experience them directly.

I chose not to title the individual pieces in order to preserve their original, abstract notation. However, some carry subtitles that hint at a programmatic character or compositional idea. Each piece adheres strictly to a single harmonic principle: once a rule is chosen, it is maintained throughout the entire composition. Sequences are never mixed.

Interestingly, some familiar chords emerge naturally from the process—even though the system is unconventional. Not every chord is fully voiced; sometimes a tone is omitted. But the addition or omission of notes is never arbitrary—it always results from the specific harmonic rule in use. Chords appear in all possible inversions, further enriching the harmonic texture.

Paradoxically, the final piece in the set—24 Sequences 567—was actually the first one I composed. It later became the inspiration for the entire cycle of accessible miniatures, all built around the same core concept.