To write all movements I used the various patterns found in the 12-tone matrix as seen in Short Assignment 3A Part III. For example in the third movement measures 36 to 40 I was focused on retrograde inversion 3 in the bass line. For that same section in the guitars I used retrograde 6 in the rhythm guitar and retrograde 3 in the lead guitar. In measure 41 to 44 the bass is once again on retrograde inversion 3. The use of different patterns in the 12-tone matrix from Short Assignment 3A gets employed in all movements. In the first movement I added other notes based on my ear and preference. Also the first two movemens incorporate the canonic structure in the two guitar parts. The last few measures of the third movement uses some of the first and second movement though the portion taken from the first movement is transposed. Basically I look at the 12-tone matrix as a crossword puzzle or word search reference…then I try to make melodic and harmonic structures out of those. I still use my ear to override anything that needs refining though.