On another note, I do like the workaround for whole-tone scales by introducing rhythmic variation. It's always something I wanted to experiment with more, but had no idea of where to start. I think that's the highlight of this mini-tutorial.
I end up listening to a lot of atonal material. I know that encompasses more items than just whole-tone scales, but I want to say that it's a general problem for atonal palettes to be easily tiring if overused. I think you chose the most on point topic for discussion. I often feel that my music isn't very clear even though there are small "feelings" that I do like. It would probably benefit me to emphasize the things I like better, before I fix the things around it as well.
I think it's a good thing as an artist to give yourself strict limitations to work with every once in a while. It encourages creative thinking and you can make some cool discoveries. The whole tone scale can get tiresome relatively quickly, because every note tends to have the same amount of gravity; there is no leading tone. I had to make the melodies seem rhythmically more interesting than usual, so you get these varied beat divisions that wouldn't easily come to my mind otherwise.
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