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)

sound of disquiet 2

Another hypercanon piece.  

This time, from the mathematical perspective, beats get filled when their beat number equals the sum of a square, a positive cube and 6th power.  

Because the powers vary, the music keeps the counts on different instruments. 

The numbers to square get heard on the piano (with 1 the top key and then descending chromatically).

The numbers to cube get heard on pizzicato strings tuned in 19-TET, using an ascending scale that divides three octaves into 19 equal intervals which sound as nearly 10:9 rations.

The numbers to raise to the 6th power, never more than 4, map to a small gamut of tuned drums.

The complexities of the sets of sums of just two kinds of powers asserts itself as the irregular staggered entrances of the canon on the instrument associated with other power.  

If this is too much information for you, the bottom line is an intense listen which, white it has a hypersimple underlying concept, also feature a rather complex surface regardless, and because of the density of the beat numbers with a "yes" answer, intense but also unfamiliar syncopation. 

Big thank you to Peter Thoegersen, who literally wrote the book on polymicrotonal (and polytempic) music.  He's a genius and you should check out his music.  While his music and also his working methods are quite different than mine, he has opened me up to one of his great discoveries, namely that the listening mind can instinctively decouple the layers of a complex music according to the tuning systems girding each layer (at a given moment).  The effect is like passing to an experience in a higher dimension, akin to the discovery of perspective in visual art.   I'm not sure Peter would even count this as "poly" since two of the layers are 12TET and my treatment of 19TET avoids actual microintervals.  But I'd never have come to this way of projecting my ideas without his influence.

Higher Powers, for Piano, Percussion and Pizzicato Strings

five parts in a 99-98-97-96-95 ratio with tempo changes, and trumpet 1 in 17-19-21-23-25-28-31 partials tuning; trumpet 2 in Pythagorean, Horn in Just 7 limit, Trombone in quarter tones, and Tuba in 19/53tet. This piece has other related versions, but this is the final poly version. For now. Composed 2025. Score in process. 

Brass Quintet 2b, in Polytempic Polymicrotonality

This music has been another journey into the marriage of the human brain and technology, and what one is willing to keep or edit out. There are many passages here that are unplayable; nevertheless, I am keeping it, as I believe there are either electronic trumpets or piccolo trumpets that can or may be able to replicate it. The harmony is all Pantonal, neither atonal nor tonal, and is driven mostly by voice leading and horizontal motion rather than verticalities. Therefore, there are no chord progressions, per se, yet, due to the voice leading, there are small pockets of centricity that approach tonality. This music, uncharacteristically, is not microtonal. The technology I am using allows me to explore ideas that are beyond human performance. Since we are in AI territory, anyway, I am keeping most of the score for a future robot ensemble driven by AI performance algorithms that will be able to negotiate these rhythms. Composed 2025.

Music for Brass, Cello, Contrabass, and Piccolo Trumpet

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

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

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Higher Powers, for Piano, Percussion and Pizzicato Strings

David Victor Feldman