I find that this clashing chord thing works best with simple triads and very clean orchestration. The Petrushka is a great example, and could be extended to include all chords a minor third away.
This is from me on another thread (on harmony and rules, etc.) on page three at the bottom:
"Take a C7 chord, for example. In the L.H., play a chord C-Bb-E covering a tenth. Play the L.H. chord for all permutations.
Then in the R.H. first play middle C-G-E (regular dominant) then Eb-G-Bb (C7 with a sharp nine) then F#-A#-C# (C7 with a sharp eleven and flat nine) then A-C#-E (C7 with a flat nine and an added thirteenth).
Now keep the R.H. stagnant and move the L.H. around by minor thirds.
On top of all this one can create melodic material using a C# (or E or G or Bb) diminished scale, cadencing at any time down a fifth or half step or up a half step from the L.H. root to a major or minor (or another dominant! --then the process can repeat itself)."
That was an example in a jazz idiom. The same information can be used in a symphonic context to provide these harmonic tensions in a predictable way.
By superimposing triads together you can create interesting harmonies that have relationships that are far more sophisticated than just getting that "chromatic crunch" SO BE CAREFUL.
Just piling chords on top of each other can get good results but knowing what harmonies you can generate from a vertical perspective while maintaining linear movement can enable you to control this stuff easily.
Clark
This is from me on another thread (on harmony and rules, etc.) on page three at the bottom:
"Take a C7 chord, for example. In the L.H., play a chord C-Bb-E covering a tenth. Play the L.H. chord for all permutations.
Then in the R.H. first play middle C-G-E (regular dominant) then Eb-G-Bb (C7 with a sharp nine) then F#-A#-C# (C7 with a sharp eleven and flat nine) then A-C#-E (C7 with a flat nine and an added thirteenth).
Now keep the R.H. stagnant and move the L.H. around by minor thirds.
On top of all this one can create melodic material using a C# (or E or G or Bb) diminished scale, cadencing at any time down a fifth or half step or up a half step from the L.H. root to a major or minor (or another dominant! --then the process can repeat itself)."
That was an example in a jazz idiom. The same information can be used in a symphonic context to provide these harmonic tensions in a predictable way.
By superimposing triads together you can create interesting harmonies that have relationships that are far more sophisticated than just getting that "chromatic crunch" SO BE CAREFUL.
Just piling chords on top of each other can get good results but knowing what harmonies you can generate from a vertical perspective while maintaining linear movement can enable you to control this stuff easily.
Clark