Kas-Kos for Orchestra

It starts with a few serial notes of motive which are made of 4 semitones(1/2 notes of whole tones). I thought I would like to repeat this motive with gradual change to a specific point of the time and I tried to describe its changing phases. Sometimes the notes are morphed to 5 to 7 notes within a quarter note.
However, I want to say its paraphrasing is just foreground sounds and I can say there are a number of different sounds which are made of a variety of parameters like a tone-color, textures, layers of different hierarchy. Especially, I focused on the basic materials which were chosen by me at the start and I wanted them to be well-organized with non-verbal ideas.
It is an Orchestral work. To make well-compounded sounds, I really tried to concentrate to realize overall harmonious sounds. Not only I focused on the individual instrument's techniques and particular tone colors but also I had a deliberation about its conclusive sounds when I composed some instruments. It was my major point of view when I made this music.
In addition, simply saying, if there were a series of tones like [do(tonic)-re-mi-fa(subdominant)-sol(dominant)-la-si(leading tone in C major)], I would choose the system of tonality. When it comes to the system, it has already proved its inherent tonal directivity accompanied with the structure by countless composers. In the modern and contemporary era, most composers tend to choose their own system like [do-(do#-re#-fa(=mi#));wholetones -(fa#-sol#-la#);wholetones: tonic+2 wholetones, in this hypothetical tone system, I will get a do(tonic) and a fa# as a Dominant in the 2nd wholetone and it makes a ‘Tritone’ within a gap from do to fa#, which also makes another unstability. ] ,which is usually based on a relation to the one music’s structure.
Because structure is basically made of a simple rule like, [tension(unstabilized situation)-resolution(stabilized ‘moment’ which is very often used with consonants sound previous unstabilized situation)]. Structure, one of the most important music parameters since Beethoven, still remains to design musical stability within that unstable system.
I have chosen very close notes from each other in this music and these notes progress by widening the notes gap between each other as well while these notes are changed within the musical time. As like that I firstly set notes are [re-re#-mi-fa; 4 semitones] but while time goes(music plays) tones’ gap is widely changed like [re-mi#-sol-la], which tones are definitely needed to supplement other tones in order to cover the gap of changed series of tones due to there being gaps between each tone. While covering them more and more, there are lots of tones added within the basic 4 tones in this music.
As a result of this process, conclusively I had to control the proliferation of every single tone in order not to be confused at all, however, a totally confusing situation by the mass of tones makes kind of an extreme climax. By means of controlling them, I have made the structural-based climax. What I would like to mention is that the tones and structure are very related to each other. Not only the narrative of music is important but also being controlled by all of the parameters that I select and already used on my music is undeniably more important than ever.