DMT

https://www.youtube.com/watch?v=i2QAjVkdy58 This is my newest composition. I took 4 popular traditional songs from Serbia, all in measure 7/8, and in traditional natural minor scales, and made a fugue out of them. I maintained mixture between traditional harmony and some modal moments (with open fifths). Feel free to comment :)

https://www.youtube.com/watch?v=AY6Kxw6jJnw This is my newest piece, written for 7 piano players. Initial idea that I explored here is "what if I make sequence that is not long for 2 or 3 repetitions but for much more, 10, 15 or even more." That approach led me to reconsider many things that are so often done without much thinking. I made many sequences some are long as the whole piece of music, some are long for the minute or two, some are shorter, and some players don't play sequences at all. With 7 players, I had opportunity to make detailed textures of sound. When listening, one can focus on following one melodic line, but be prepared to have your melody to disappear and later reappear in another instrument. Also you can just listen to whole picture. I'm looking forward for your comments :)

https://www.youtube.com/watch?v=AY6Kxw6jJnw This is my newest piece, written for 7 piano players. Initial idea that I explored here is "what if I make sequence that is not long for 2 or 3 repetitions but for much more, 10, 15 or even more." That approach led me to reconsider many things that are so often done without much thinking. I made many sequences some are long as the whole piece of music, some are long for the minute or two, some are shorter, and some players don't play sequences at all. With 7 players, I had opportunity to make detailed textures of sound. When listening, one can focus on following one melodic line, but be prepared to have your melody to disappear and later reappear in another instrument. Also you can just listen to whole picture. I'm looking forward for your comments :) I posted this also on "Piano music", will delete if needed.

I just read today that Lutoslawski in his String Quartet originally produced only the four instrumental parts, refusing to bind them in a full score, because he was concerned that this would imply that he wanted notes in vertical alignment to coincide, as is the case with conventionally notated classical ensemble music. Although music is quite different than mine, same logic is going on. Because he wanted that bit of chance (aleatoric) happening in the absence of synchronization, he refused to make full score. Same here 😄

Balkan ekspres mi se sviđa kako si odsvirao 😄

Okay, why is this put here? It's not your composition, it is not the whole piece. You just played it on two keyboards. If that is your main idea, I think you should try to follow that and to find something interesting with that. Maybe change timbre of instrument, or take some orchestral piece and play it all on keyboard or something like that. I didn't mean to sound angry, just wan't to give some advice, because I'm not sure why you did this video. Greetings :)

Well, because it is canon, I didn't bothered to make score that way. I just made part for every player, and because they are preoccupied with their playing and listening to metronome, they don't need to know what other player is doing. (Of course, in my initial stage of composition, I wrote it that way, so I can see what is going on vertically) When I decide to make it with Finale, I will post it here. I never listened to Okegem's Missa Prolationum, thank you for bringing it up, I will now listen to it. My inspiration for this piece was canon works of Conlon Nancarrow. He did a bunch of interesting stuff for player piano, and I wanted to achieve similar poly-meters but with human players.

Hello everyone. This is my latest composition, and it is first one made for two pianos. It has some really interesting features. First one is that players are playing in different tempo. Jelena is playing in tempo 64 and Dimitrije is playing in tempo 39. They have earbuds in their ears with metronome. I choose tempos that are in golden ratio, and I wanted to see what kind of poly-rhythm I can get with that. Of course, I am not searching for some ultra precise figures, rather I am looking for unexpected rhythmic relationships, because every performance is different, because the other player can never start playing at the exact same time. Second important thing is that this piece is canon, so everything that Dimitrije plays in the low register, Jelena plays in higher, and because Jelena is starting one minute behind, she eventually keeps up to Dimitrije right until the very end, and then they are playing simultaneously chords, everyone in theirs own tempo. This setup was very interesting, because it forced me to think differently about melodies and the harmony when I composed the music, and also I can say that I am very satisfied with the result, and I will make some more compositions in which I will explore this kind of rhythmic relationships. I am very curious what you think about this. How it sounds to you, can you recognize patterns that repeats between the players, how the polyrhythms affects you etc. Feel free to write any impressions. In attachment I will send PDF of one line, but has some mistakes, because I didn'f finish writing the score. ALSO, I recommend more than one listening, because with every listening you will hear more details and things would make more sense, first time is mainly just confusing :)

Wow, this is really beautiful music. I like the overall atmosphere of this piece. All the clusters are really good sounding. Only thing that seems unnecessary is this melodic line in measures 16-18 and 31-35.

okay, now I'm understand everything :)

Thank you Monarcheon for such a in depth analysis. I will try to make some thoughts also. m.4 - just a mistake, it lacks quarter rest. You can see on the video, that I play m.4 with the right hand that melodic line which is written in the left hand (after the main theme, h-e-g) 11-13 - melodic line in m.10-11 (f-g-g-h-g) is quotation from my earlier piece, that she really really likes, so I put it there, to have a small symbol, or reminder of me in her life, and after that I wanted to make new atmosphere with the left hand, as you correctly noticed in reference to m.4. So, if I understood correctly, it is weaker because it's just left hand playing, or is it something else that is missing, some motivic relationship with the previous material, I'm not sure what you mean by "nothing was supporting it". m.16 - I constructed that chord just by going third down with the accompaniment in every bar, just like in m1-4, and added D because it sounded fuller. I liked the sound I kept it that way, but I know that is unusual voice leading, and maybe I could find better solution. m.19 me neither 😄 m.40 I had one or two mistakes when I played on that video, in the accompaniment, maybe is that reason why it sounds "bad". Also I'm nor sure what you mean by relative mediant, do you mean upper or down - G or C. I feel this part is just G major, so that C chord in m. 42 is subdominant, and than F is just chord that sounded better than average cadence for me, it sounded like music just stopped, without real end, because it's story doesn't end, (story of her and me, because it's not ending, it's not good or bad, so that chord that doesn't fit as major tonic or minor tonic really sound right for that purpose)

Thank you very very much!!!! I cannot stop laughing at myself that I didn't thought of that, playing together. I will definitely make 4 hands version. Thank you again for the comments 😄

I composed this for my girlfriend's birthday. She loves Twin Peaks, and loves music of Giya Kancheli so that was the orientation in which I wanted to develop my composition. Also, she is beginner in piano playing so I need to make something relatively easy so she can learn to play but also composition needs to have "substance". Her last name is Henig, so I used that as idea for main theme, which is notes H-E-G (that is b-e-g in american notation, so basically e minor). Because she have this dark side in her (and a lot of bad things happened in her life), I tried to make beginning and some parts of composition in darker mood, but of course beneath that is huge will for life and for happiness, so I put as much hopeful, emotional sound as I could. Please listen, and say your impressions :)

I found it, it's indeed very interesting way of composing, worth getting more in depth in to it :)