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. . . I had developed a rigid
way of writing
counterpoint. Two voices, each one having a chromatic range of twenty-five
tones, that is, two octaves, and having a common range of one octave or
thirteen tones, would progress in such a way that no one tone would be
repeated between two voices until at least eleven had intervened, and no
tone in a single voice would be repeated until all twenty-five had been
employed.
John Cage
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