Like the Shostakovich Fugue No 19 in Eb Major, I decided to put my phrase in 5/4 time. But instead of selecting a major key I decided to go with F minor. I used similar rhythmic patters but decided to add more eighth notes. I used similar melodic contour and distance and the almost canonic feeling in the left and right hand voices. I broke the rules again by making the last two measures sound almost tonal.
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.
I think I got carried away with my writing because although you had asked for only 12 measures I continued writing more and more since I realize that 3/4 has fewer beats than 4/4. But then I decided that there are two distinct movements here, so that is why I put A and B in boxed text. Those are the two movements. My next assignment after this will include a third movement.