The first movement of my Woodwind Quintet, composed between 2004 to 2018. Though the movement follows the architectural methods of the Baroque passacaglia, it is also very abstract in its use of melodic transfiguration and tonal schematics. 

This movement is dedicated to the memory of Chuck Bond, a man I worked with while I was employed as a manager for a newspaper delivery company in the Hudson Valley.

Woodwind Quintet - Passacaglia (In Memoriam Chuck Bond)

I experimented with an untuned grand piano. It had a peculiar tuning, intriguing and alluring. I opted to adjust the tuning of select keys, preparing them with a wooden objects to achieve a desired resonance then I used the material from one of my compositions titled "Sweet Dramatic." I am grateful to Rubén Widén for his help and for capturing the sound with his tape recorder.
17 May 2022, University of art, Stockholm

Sweet Dramatic v.II-prepared Piano (2022)

music composed in 4 channel for ToBe Continued - Stop TB Day music marathon 2017.

this piece is inspired by thinking about traveling between two worlds, whether they represent metaphorical worlds of one's own imagination, mythological worlds of the living and the dead, or different worlds as conceptualised by modern physics. The music reflect the uncanny presence in the unfamiliar space in-between.

Another (2017)

WEAVING LISTENING event, 2023
Composer: Mehdi Hesamizadeh
Ney: Bastian Duncker
Blockflute: James Etherington
Performed at HilbertRaum, Berlin

This piece is a reimagination of Siāwčamāna.
Siāwčamāna is a well-known traditional Kurdish song from the villages of Uramanat, an ancient cultural region in the Zagros Mountains. The song belongs to the rich musical tradition of the Hawrami people, and it is thought to have evolved from a song performed in religious ceremonies in Zoroastrian times or possibly earlier.

A reimagination of Siāwčamāna (2023)

12  = 
   12 = 11+1 = 10+2 = 9+3 = 9+2+1 = 8+4 = 8+3+1 = 7+5 = 7+4+1 = 7+3+2 = 6+5+1 = 6+4+2 = 6+3+2+1 = 5+4+3 = 5+4+2+1
Here each sum accumulates mutually different magnitudes; these 15 exhaust all the possibilities (when the summand order doesn't count). 

12  = 
  11+1 = 9+3 = 9+1+1+1 = 7+5 = 7+3+1+1 = 7+1+1+1+1+1 = 5+5+1 = 5+3+3+1 = 5+3+1+1+1+1 = 5+1+1+1+1+1+1+1
   = 3+3+3+3 = 3+3+3+1+1+1 = 3+3+1+1+1+1+1+1 = 3+1+1+1+1+1+1+1+1+1 = 1+1+1+1+1+1+1+1+1+1+1+1
Now each sum accumulates odd magnitudes, and likewise these 15 exhaust all possibilities. 

15 possibilities both times; this is not a coincidence nor is it a special property of 12.  Start with any whole number and it turns out that the two tasks always lead to the same numbers of solutions.  

Now a claim like that requires proof; just testing finitely many cases does not suffice.  One sort of proof involves inventing some way of seeing an instance of one sort sum as a secret code for an instance of the other sort of sum (and vice-versa).  Then the implicit codebook matches up the two sets of solutions.  

Suprisingly, mathematicians know more than one recipe here for doing the coding and decoding.

And starting specifically with 12, coding by one recipe and decoding by the other happens to walk you back and forth between the all the solutions of both problems.  The structure of this piece is that process, with all the intermediate steps. The rhythms alone sonify the sums, but the pitches will guide you through the execution of the coding.

Different and Odd, for alto[aka tenor] horn and piano

This Brass Septet features only acoustic, but polymicrotonal, brass instruments. There's a range of different tuning methods employed here, from Wendy Carlos Alpha, Beta, Gamma, to Just 7, to Pythagorean, and even Partch's 43. The trumpets are quick and squiggly rhythmically which pushed the microtonal changes with portamento into a rather insect sounding result, which I decided to keep, as a novel mistake, turned discovery. It will annoy many listeners, but I am beyond caring now. The bottom is nice and round, just like Jennifer Lopez. And if that's sexist, I still don't care. 

Polymicrotonal Brass Septet: Lord of the Flies

This bit of Tuesday fun is a new piece created in Reaper, new, with Oddsound microtuner, and a plethora of vst instruments, and some contrabass to round out the bottom. composed in the year of 2025. 

Polymicrotonal Etude #51.15145987

Polytempic polymicrotonal etude # 52

This track is the second version of 53, with added tunings and instruments: 12tet poly strings, and Nordic Whistle in Partch 43, in addition to the already established 22, 48, 53 and I forgot. Cats will soon join this eternal topic making it a trialogue betwixt myself, mat and David. coming soon. maybe. 2025

polyetude 53a, version 2: David Feldman and Mat Ward Converse on Moths and Dogs

This is an experiment with Maschine Micro and the CZ101 within Logic Pro and attempting to silence the screaming snails inside my brain. 2025

When We Are All Kung-Fu Fighting About Politics

This is an exploration in new digital music technology, using the Native Instruments Maschine Micro with 16 drum and bass tracks split to 16 separate channels/tracks, and manipulated with panning and levels, whilst the CZ101 interferes with its inane singing, whilst other sounds from the Maschine Micro interfere, whilst a 24/60 microtonal guitar tries to break through with its soft cloudy countenance, whilst being eclipsed by the annoying CZ101 (also playing more than one part in the instrumentation) and the occasional pluck algorithms from Audacity are microtones to 75 cents up and down, along with a couple of quarter tones. The music itself also modulates to the eighth and quarter tones in the middle and towards the ending. This is therefore polymicrotonal. And since the drums are chaotic at points, this is also polyrhythmic, but not necessarily polytempic. Meow. 2025

Polytempic Polymicrotonal Etude #54: Microtonal Guitar w Maschine Experiment #3

Composer, mathematician, visual artist. 
Seeks collaboration with performers and choreographers.

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Different and Odd, for alto[aka tenor] horn and piano

David Victor Feldman