but at the same time it is difficult not to hear in them a sense of coordination and, perhaps, even progression. What principles underlie this odd Prologue, and the Prophetiae Sibyllarumas a whole? How might we understand this chromaticism? Are different techniques used in different locations, or does the cycle represent simply a long wash of consistently strange music?Finally, a seemingly necessary question that I will soon argue we must put aside—what key/mode/diatonic system is it “in”?