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Hey Lithl Very cool piece! For some reason your piece reminded me of this: Know the composer? This may help if you want to keep learning about a style with "tape" playback (or whatever avenue you use) mixed with instruments. Your piece is more abstract, but I'm sure they're parallel in some ways. I'm not too familiar with the style, but I'm always curious how more abstract music could be developed further. Thanks for sharing, and don't ever be bashful about posting something against the grain of what's here :)

I've taken to another exercise from Chapter 8 of Persichetti's "20th Century Harmony" - "Compound and Mirror Harmony". This time I've chosen Exercise 7 - "Move a chamber group through several mirror chords where the reflective harmony is generated by the same tone and by different tones." In this case he is referring to using symmetrically invertible scales just like in Exercise 8 which I already did. In that exercise I built the respective mirror scales on the same tone (C) so in this exercise I sought to build the mirror scales on different tones only. I also created an inverted canon at a 10th and a quarter note between the Oboes and Bassoons. I used the following chart from the book to simplify the exercise for myself (so I used E Mixolydian in the Oboes and C Aeolian in the Bassoons). At one point I switch the Oboes to Ionian and Bassoons to Phrygian, just like in Exercise 8, but this isn't accompanied by key signature changes. Thanks for reading and for listening! I would appreciate any of your suggestions, comments, critiques or observations! Persichetti Exercise 8 - 7.mp3 Persichetti Exercise 8 - 7.pdf

Yeah I think this was really interesting. For me I felt like it was really easy to distinguish the two parts, as my ear could effortlessly listen back and forth between them. It didn't feel like oil and water like a lot of bitonal stuff I've heard, but rather the two parts worked much better than what I anticipated. Very cool Peter, I'm interested to hear how all your studies acquiesce into larger works. Maybe something along the lines of blending two themes together at the end of a sonata or something.

= Short Piece for Cello / Piano / Granular Synthesis = = Background One day, I thought of a cellist and a pianist performing over a backdrop of electronic noise, and this piece was created based on that idea. As the title suggests, the composition features cello, piano, and granular synthesis. The composition process began with creating the granular synthesis textures, followed by adding staccato cello notes and piano. I imagine a space that looks like a compact design. = Note I don't have a specific message I'm trying to convey with this music, but I would be happy if someone found it enjoyable. To be honest, I was reluctant for a while to upload this piece; I felt a bit hesitant about creating something annoying when everyone else is composing beautiful orchestral / chamber or keyboard-based works, haha. Still, I decided to take the plunge and upload it. As for the score, since I don't know how to notate it, I can't upload it now. I’d love to hear your impressions, criticism, and feedback. Again, I hope you find it interesting and enjoy it. = Music / Artwork: Lithl = Finally If you know any pieces that are similar to this piece of mine, please let me know. I'd appreciate it. Thank you for listening, and have a nice day :) Short Piece for Cello : Piano : Granular Synthesis.mp3

It's been a while since I've composed anything, so I felt like getting back into doing some Persichetti composition prompts. I am now on Chapter 8 of Persichetti's "20th Century Harmony" which is titled "Compound and Mirror Harmony". The particular prompt for this piano piece was "8. Write an opening section of a two-part piece for the piano employing two symmetrically invertible scales. The mirror writing should be kept strict throughout." So I tried to do just that with this ~1 minute long piano piece. I tried my best to make an actual piece of music rather than an exercise, but let me know how I did! I'd appreciate any of your comments, critiques, suggestions or observations! Thanks for listening! Here's the form of the piece: A - Right Hand - C Mixolydian, Left Hand - C Aeolian B - Right Hand - C Ionian, Left Hand - C Phrygian A Persichetti Exercise 8 - 8.mp3 Persichetti Exercise 8 - 8 Score.pdf