All Time is an atonal* piece intended for piano. It is loosely in 4/4, though the time signature is not concretely indicative of the feel throughout. I used the rows** P0, R11, R5, and P4 in this piece, and they show up in that order. My matrix uses fixed do. 

 The piece begins with P0 in the treble clef, with an antecedent and consequent phrase bouncing between P0 and R11 in the bass. The accents and tenutos on the primary theme are used to accentuate the melody’s tension and release. Part of m.4 uses repetition in the R11 line to build tension before modulating to R5 in an ascending arpeggiation to the treble. The feel is changed dramatically in m.5 by placing P0 in the bass with a repetitive sequence, not unlike the C section in Beethoven’s Für Elise. The phrase markings are intended to bring a smooth, legato-feeling arpeggiation to each interval. It is intended to be played with alternating fingering to emphasize in triplets. The melody is now performed by R5, which uses an ascending sequence to move through the row and increase tension before dropping back to the beginning of the sequence in m.7 alongside silence from P0 for three 16th rests. The sequence begins again and culminates in the final note of the row which pauses the music as it gets ready to modulate again. The beginning of the B section is marked in m.9, which brings back R11. The melody consists of consequent and antecedent phrases between R11 and R5. The bass switches to another part of the row in P0 but continues repetition. The end of m.10 introduces the row P4 which engages with R5 in another series of question and answer phrases. There is a brief reprise of supportive material between bars 11-12 that lead in a repeat of the P4 and R5 phrase. In m.13 the melody uses material from m.9, and leads into the final phrase between P4 and R5. The other rows take a step back while R11 returns as a solo harmony repeating and variating its line from m.4. In m.17, the final part of the B section is formed, bringing all rows introduced throughout the piece into a final question and answer phrase that modulates back to the beginning of P0 and the primary theme. The ending of the piece is a shortened A section that ends suddenly on the return of  R5

 *Atonal music is a style of composition that lacks a tonal center or key. It treats all twelve tones of the chromatic scale with equal importance, resulting in a more dissonant and abstract sound than conventional classical music.

**A matrix is used to organize the atonal scales, split into 12x12 ‘rows’ ordering each of the twelve notes of the chromatic scales with no repetitions. These rows are defined as being prime, inverted, retrograde, and retrograde inverted. Prime rows are based on the original sequence of notes, inversions are made up of inverted intervals of each of the notes of prime rows, retrograde are reversed orders of each of the prime rows, and retrograde inversions are reversed orders of the inversion rows.