The bass moves into the middle: this is our musical revolution. Several composers after Webern, myself included, have been fascinated by harmonic structures which radiate out from either side of a central axis in reflecting intervals. Unless a strong contrary line is taken in atonal music the bass will remain at the bottom of what sounds like dissonant music. But in symmetrical mirroring structures it is forced, focal attention is forced, into the axial middle, because all relationships converge there: the sounds point to it.