This track was created as a development of Piano symphony for 1 note. Here one note is played on melodica, including also some percussive techniques. Before recording I created a scheme of used techniques, which you can see in youtube video.
I played Hohner piano32 melodica in this recording (AKG C-214 + Zoom H5). Directions for playing this track: use only one note on melodica. Play anything.
Comments
In this solo piece for harp I chose an unusual style for harp: rock + experimental rhythm and atonality. When you work with harp you need to remember that harp has only 7 notes in an octave and it can be flat, normal or sharp. Sometimes I have many pedal changes in one measure, but I try to make them easier to play by putting changes of the same pedal close.
In this track I use muting a lot, because the style requires it. Especially muting in low register is difficult.
This track was created as a development of Piano symphony for 3 notes. Here three hits are used insted of notes. Before recording I created a scheme of used techniques, which you can see in youtube video.
I played djembe in this recording (AKG C-214 + Zoom H5). Directions for playing this track: use any percussion instrument, play notes in the groups of three using any concept you can imagine.
In this track I use permutations of sequences of natural numbers, optimized for the best autocorrelation qualities. Such permutations were discovered by the group of researches lead by D. Sabaev in itace.ru project in 2015.
This avant-garde aleatoric piano symphonic cycle consists of four symphonies:
Piano symphony for three notes (playing on piano using only three notes) Piano symphony for two notes (playing on piano using only two notes) Piano symphony for one note (playing on piano using only one note) Piano symphony without notes (using only percussion techniques on the piano) Thanks a lot to Irina Kazanskaya for playing this piece live:
When writing this piece I first drew a plan on a whiteboard, you can see it below. Then I added two voice sketches using my smartphone audio recorder.
This piece consists of three parts, each approximately 3 minutes long. It is a program track, as I first created the idea (plan below) and then wrote music. First part (climbing up the volcano) creates an increasing tension by crescendo, speeding up tempo and transition from legato to staccato. I created multiple videos for this track, including a painting by Lida Naumidis specially for this piece, sketch of this painting and a collection of photos.
In this piece I use new approach to harmonic structure: first decide the movement of one voice (choosing first note of a chord), then select a chord that includes this note, then find other voices for chord using voice leading. I tend to choose chords, that are not dominants or subdominants of surrounding chords and are far from surrounding chords in terms of circle of fifths. This leads to a constantly developing harmony without standard resolutions.
In this track I applied my latest ideas of building dissonances to percussive instruments. This was interesting, because percussive instruments need more dissonances and more severe dissonances to begin to sound dissonating. So, in some places I could build very dissonating polyphony without creating chaos effect.
In this track, like in others this year I am moving from the concept of simple repetitions, that I often used in the previous tracks. Now if I reuse any material, I modify it, making the whole piece not only a meditative pleasure full of repeats, but also more rich in information, when listening to every minute brings something new.
Every time, when I start writing a capella using modern vocal libraries, I know that result will strike me. The same was right with this piece and again I did not believe it could sound like this.
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