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Hi, One of my goals here is to show we have lots of compositional resources at hand. Of course, many of you know it, and use them. Sometimes I write very short pieces to "test" the effect of one or other harmonic combination. Later on, if I like the results, I take it for composing something more expressive. In this case, I try to mix the eclesiastic modes (dorian, lydian, eolian, etc...). When we use two modes at a time = bimodality When we use two tonal centers at a time = bitonality When we use two modes and two tonal centers at a time = bimodality + bitonality, which is what I did here. The piano is perfect for this purpose: one hand one mode in a tonal center, the other hand in different ones. Of course, every combination is different. I wouldn't say there are better ones, worse ones. Unavoidably, there are clashes here and there, but the task of a composer (even the amateur, like me) is to control them to create relax-tension. Please, these pieces are not intended to be "beatifullly expressive". They are meant to show the effect of the combination. I wrote them in a few minutes. Study I = D dorian + C lydian Study II = D locrian + G mixolydian Study III = G dorian + A eolian I always encourage, particularly to amateur composers, to read about this stuff, to explore a little. The musical universe is endless, and it is there to expand our expressive possibilities.
THE PIANO MUSIC OF CHARLES IVES - *NEW* This New Master Class includes an introduction to Ives and his work; a mini-clinic on the use of dissonance in modern composition/improvisation, and listening and discussions of 5 of Ives' solo piano pieces. http://youtu.be/otGAvFUYDMk You will LUUVV this, free! Blessings and keep swingin, Dave Frank Director, Dave Frank School of Jazz NYC