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)

Realization #82 of an open form work. 

Details for those who want to know *what* they're hearing:

Some unheard but endlessly repeating  rhythmicized tone-row girds each realization of this work.

Any tone-row contains 220 trichords.  Graphed in time and interval space, each trichord  (as a triangle now) has a geometrical (signed) area.  While the area of any one triangle depends on the units chosen for both time and interval width, the ratio of two triangle areas is invariant of the units.  So ordering the 220 trichords by increasing area makes intrinsic sense.  
It also produces a distinct musical effect, you will hear it, suggestive of careful and gradual development.  The reasons why the mathematical strategy has this musical effect are complex and perhaps hard to foresee in advance.

Now transposing the row up a semitone but also forcing all the notes back  into the original octave changes the area of 1/4 of the trichord/triangles. This shuffles the trichord order and produces a kind of variation.  This work, as a whole, proceeds through all 12 of these transposition-derived variations.

Well that describe the timpani part anyway.  

The flute doubles the timpani always at some number of octave, and climbs in register during the stretch of each variation, flute register roughly correlated with trichord/triangle area.  Octave transpositions always apply to all the notes in a trichord in order to preserve the shape, which of course is the chief musical determinant here.

The flute part can be performed alone.  It can also be performed with the timpani part on fixed media.  But live performance of the timpani part would require 12 drums, and perhaps two players, and perhaps some technology for coordination (since the rhythms will be hard to count in the usual way).

If there's interest, I'll upload other realizations.  All realizations are both recognizably "the same piece" yet also reflective of the idiosyncrasies of the basic rhythmicized tone-row.

Sharp Shadows Shadowed, for Flute and Timpani

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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Sharp Shadows Shadowed, for Flute and Timpani

David Victor Feldman