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jana last won the day on September 30 2019

jana had the most liked content!

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About jana

  • Rank
    Advanced Member

Contact Methods

  • Skype

Profile Information

  • Biography
    I grew up playing classical piano and learned jazz in college. I have a master's in composition and piano performance.
    In all of my music I use an algorithmic approach using geometry. I live in the San Francisco Bay Area. I can be contacted at mypianopartner  AT gmail.com
  • Gender
  • Location
    Pacifica, California
  • Occupation
    Musician and composer
  • Interests
    Music, programming, jogging, French language, sustainability
  • Favorite Composers
    Bartok, Prokofiev, Ravel, Bach, Palestrina, Beethoven, Chick Corea, Duke Ellington, Cannonball Adderly, many more
  • My Compositional Styles
    21st Century
  • Notation Software/Sequencers
    Sibelius, Mulab
  • Instruments Played
    Piano, harpichord, recorder, violin, ukulele, chimes

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  1. Your observation about the dissonance is correct. I'm not following traditional common practice rules. So it opens up sounds and dissonances that are not possible using traditional rules.
  2. Hi, thanks for the kind words! If I know which moment you're referring to, the melody does have a little downward "tail" at the end of that phrase. As you said, it would be easier to express if I played it live.
  3. I wrote this piece using the fibonacci sequence. I'd love to get your feedback on it. I use an algorithmic approach for composing. The fibonacci phrase is repeated several times, in all four parts. In the lowest part, the note durations are are exactly twice as long.
  4. I wrote this as a short loop. It doesn't really have an ending. I hope it captures the uneasiness you might feel in a dark forest. I always compose using an algorithmic process. I hope you enjoy the results.
  5. Really captures the genre without sounding like a copy. Very fresh.
  6. I particularly like the introduction. Those rich chords are very interesting. I think the piece speaks very well, like it's having an important and sensitive conversation with me.
  7. I really like how you flow so easily from one texture to another. I think that could be hard to do. But you've done it well. And very calming to listen to.
  8. First of all, this is a great title. Captures the sound perfectly. And your work at the top of the keyboard is captivating. It held my attention throughout.
  9. That's beautiful how you combined two seemingly incompatible textures, 1) the fast run, and 2) the fourths, sometimes playing the fourths alone as chords, while alternating with the runs and and sometimes playing both textures at the same time. I liked the "fanale" at the end, with the triumphant chordal 4ths, decorated by the runs. Thank you for not playing it forte with lots of accents. Your more subdued presentation was nice.
  10. What a unique approach to figuration. I haven't heard anything like it before, and I find it refreshing. Then, I like how you really establish this approach you have, by transitioning, right around 43 seconds, to the B section, which "doubles down" on your interesting figuration. I also liked those deep, rich harmonies that happen right before you transition back to the A section.
  11. Hi Monarcheon, thanks so much for your brief analysis. I really want to know how people perceive my music. I'm not really using 12's or even thinking horizontally or vertically in the traditional sense, but I know there's going to be overlap between my method and other methods. Schoenberg was not my favorite composer, but I can understand how you would hear his approach in this piece.
  12. I enjoyed listening to this one. Free fugues (not strictly following traditional rules) are so pleasurable to listen to.
  13. I like it! Structured, but with some freedom.... interesting! I actually like the unorthodox ending.
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