Uploaded on Apr 8, 2018

This one is a study in two part textures. As such it belongs to a set of organ pieces that will, I hope, become a concert suite for the organ. It is also a study in translating my own harmonic language to the bare layout of just two voices. Should I work with harmonies in a traditional sence? With different shades of dissonants? Or should I handel these complex chords as strictly defined sets of inteval classes? I don't find this an easy task to deal with, but I give it a try.

Pages 1
Duration 01:34
Measures 34
Key signature natural
Parts 1
Part names Piano
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License None (All rights reserved)
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Lol, when looking at the title "Bicinium", I thought it was a chemical element. How wrong I was. xD And your piece is a perfect example of how we often say in music that you learn rules to break them afterwards. I love it. Such complex harmonies intertwine in this less-than-two-minute composition. To me, the balance between eighth and sixteenth notes is perfect. Also, the occasional mordents throughout add a smidge of flavor to the mix. Maybe you'll be at my side with my opinion, I like to think musical compositions as actual culinary recipes, where the skeleton of the music (harmonies, notes etc...) is the dough you mix along with the staple ingrédients and the mordents, trills, extra notes are the pepper, salt, thyme, you name it. At least, that's just my opinion, perhaps the idea gonna sound weird to you, each person is different after all.
Yes, excellent. I always work from something tiny. It can be an abstract plan scribbled on a piece of paper. But most of the time it is a small piece of only a few bars that is already perfect in itself. The rest is extrapolation, interpolation, embellishment, repeatements, etc.. Such a template can be of a great help in a complex style, just to keep one's grip firm. I give you an example of mine. The first four bars are the template, the rest comes from it:
Wonderful piece. It's nice to hear something that pushes the boundaries of harmonic language, and ultimately, something experimental and original. Any musical idea that you have, tonal/atonal, consonant or dissonant, just write it down. Mozart once said good ideas can't be forced.
Thank you so much for your kind comment.
i like it too, but the "favorite" really comes from Demi. he was really excited about you liking his little song and he wanted to hear your music. this one he really liked. :-)
That's the nicest compliment I had in years. I hope Demi will continue his efforts. His early attempt sounds promising.
I like this very much - it also sounds "not so dissonant" to me.
really interesting piece and reflection on the technique...not sure if you intend with "shades of dissonance" that the classical dissonances can become a (relative) consonance if you put it near a harsher one.
Yes, that's what I mean, tension and relaxation in the traditional sense, applied to more and less dissonant chords.