The first Prelude from my ongoing 'Preludes (for piano)' suite [2021-].
This piece uses serial techniques. The four transformations of the set complex are complemented by the additional use of non-chromatic melodic inversion. I have dedicated the piece to my former composition teacher,
Mr. Peter Nickol [ www.impulse-music.co.uk/peternickol/ ]

Preludes (for piano) [2021-] -I-

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faraway monster

Carrots And Sticks

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The Pimpleton Procrasturbation Ensemble performs DISCOMMUNICATION INTERCEPTIONS FROM THE BIMONTHLY MEETINGS OF THE CACADEMIC SNUBCOMMITTEE PRESIDING OVER THE PIMPLETON STATE LOONIVERSITY SCHOOL OF THE ARTS by Gary Lloyd Noland. For more information on the composer, please visit his website at: garynolandcomposer.com

DISCOMMUNICATION INTERCEPTIONS FROM THE BIMONTHLY MEETINGS OF THE CACADEMIC SNUBCOMMITTEE…

My Preludes (for piano)-III- "Mystic".                                                                  
The third and final entry in my "Preludes (for piano)" suite. 
Dedicated to David Victor Feldman. This composition is in 4 sections, each expressing a different character.

Prelude II: https://soundcloud.com/user-708155291/preludes-for-piano-ii-1

Prelude I: https://soundcloud.com/user-708155291/preludes-for-piano-i

Preludes (for piano) -III- "Mystic" [2024]

Honestly, this essentially is the piece that got me thrown out of music composition graduate school 37 years ago.  "Essentially" because then and until now it existed only as a "head chart."  My teacher asked me what I planned to do next, I started to describe my design.  Before long he'd heard enough, stopped me, denounced what I'd described as indicative of everything wrong with what I'd been doing lately.  "Your music is not eidetic"; at the time I didn't even know the word "eidetic."  Though I didn't stop composing when I left school (quite the contrary I entered a very productive time), I just never made time to write down this piece, but I never forgot about it either.

The basic idea is simple enough: to try to make total serialism safe for ear-training dunces like myself.  So pitch classes play absolutely no role here.  The atoms of this music consist of short conjunct musical fragments, not unlike Baroque ornaments.  The mathematical abstraction that underlies these fragments then controls everything: timing, register, duration, dynamics, articulation and instrumentation.  Doubtless the overall structure does not seem transparent, but at least maybe one feels the presence or trace of structure.

About the title: a permutahedron is a polyhedron whose corners correspond to all the permutations of a certain length.  The permutahedron corresponding to permutations of length 5, the length of the musical fragments here, lives in four-dimensional space.   So a linear map from four-dimensions into eight-dimensions  generates enough data to determine all the parameters.  Then ten different linear maps general ten "variations," the scare quotes because the variation stand to one another more as multiple views of the same sculptural construction than as conventional musical variation on a theme.    

Permutahedra

for 10 guitars.
Pete Harden,
Michael van Dijk,
Boy Bol, 
Andres GB, 
Erik Verberne, 
Santiago Basante Arias, 
Johan Timmermans, 
Gabriel Amaro, 
Arne de Wit, 
Jon Van Mulders

 2018, De Doeln, Rotterdam

tiny little area dedicated to the piece

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

Please don't spam this account!

Permutahedra

David Victor Feldman

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