Bow & Mallet is almost entirely based on the dorian scale.  The dorian scale is unique among the diatonic scales in that it is symmetrical.  The pattern of whole-steps (WS) and half-steps (HS) is the same going up as it is going down.  The pattern is as follows: WS-HS-WS-WS-WS-HS-WS. 

For my pitch material in this piece, I created a polydorian scale.  I started with C dorian, beginning on the low C of a marimba, stacked D dorian on top of that, and then E dorian at the very top.  What I discovered was that overlapping C and D dorian was G dorian, and overlapping D and E dorian was A dorian.  Hence my polydorian scale.

Rhythmic material was also derived from the dorian scale.  Rhythmic phrases are grouped into seven units as in the aforementioned WS-HS pattern.  In these groups, the WS durations are twice as long as the HS.  Other rhythmic phrases also occur, and while they are not all so closely tied to the dorian scale those that repeat are symmetrical.

The form too is based on the dorian scale.  As with the rhythmic phrases, the piece is made up of seven sections where the second and penultimate sections are half as long as the as the other five.

Too much dorian?  Well perhaps, but as with most of my quasi serial compositions, the theory which I have discussed to this point really only provides and outline.  The finished work spends weeks dripping through my musicality filter before it is ready for performance.