My microtonal music realized by MIDI

Slow Waltz
for chamber ensemble

to Liana, with love

Originally for piano (Composed in November 2023)
This arrangement was made in two-and-a-half hours on 9th December 2023. 

Slow Waltz, for ensemble (2023)

All That Jazz was composed as a piece for a cycle of Nocturnes which eventually became 'Facing the Night'. On reviewing the piece, I considered it to be sufficient as a standalone piece and as an exploration of highly chromatic jazz. Listen in for a quotation of a jazz standard! 

Cover Art: All That Jazz, M.Sani.

All That Jazz, for MIDI (2021-22)

The doctors didn't know what was wrong with my lumbar area. They said it was a herniated disk. Later it was found to be a diabetic complication that ate the nerves away from my lumbar area. Only 0.000000000000000875% of the population get this. i am very lucky. 

piano collection 15b: Herniated Disks Much Better Now.

This is an exclamatory music that is heightened mood and intense in feeling with pedal work and syncopation in both bass and treble clefs. 

piano collection viii

Piano collection 3 is from 2007 and was finished in 2010 after a hiatus for a couple years. The piece is already a step away from piano collections 1 and 2. 

Piano collection III

An early ditty from 2002, for piano solo. The second in the piano collection series. 

Peter Thoegersen - Piano Collection II a

composed 2016. This is a three part piano composition that is centric, yet atonal

Peter Thoegersen - Piano Collection #5

This is a composite of 12 tracks: 4 strings, 4 pianos, and 4 drumsets all in four different tempos and 4 different tunings. All instruments are playing the original Hypercube score! No added notes. 

Hypercube Version III (for Chamber Ensemble: Strings, Pianos, and drumsets)

Piano II #2

Piano II #3

These five pieces feel like rags to me despite their strange tuning, irrational rhythms and athematic construction.  They all follow the same progression of 73 special chords derived from division of the octave into 34 parts, special because each also closely approximates a selection of overtones from a common fundamental.  Two common tones link each chord to the next giving an effect different from but still something like functional harmony.  One might call the movements mutually isomorphic, even though they differ in all their lapidary details.   Having listened to one or two, the others will sound familiar one a first hearing, but only in a very abstract way.

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

Please don't spam this account!

IV

David Victor Feldman

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