i haven't even heard it yet ( on way to a meeting)  but from the description it sounds fascinating. Can't wait : )

its very playful and for the moment seems to retain harmony, the pace of it almost folds in itself creating a sense of calm

co paring this to the opening minute is very satisfying, its all there, has mutated as per the maths and is now rich with multiple departure points and returning loops

Beautiful! Isn't 50 clicks per second a low tone (~G quarter-sharp?)? Does that frequency play into the pitch structure?

Soundtrack to a TV commercial for cancer awareness in Iceland.

Bryndís Jakobs - Vocals
Halldór Gunnar - Guitar
Þórdís Gerður Jónsdóttir - Cello 
Jóhann Vignir - Synth, recording, mixing, producing.

Pink Ribbon - TV Spot - 60sec

Part of a soundtrack for the Icelandic docuseries 'What Can We Do'. Premiered on RUV in 2021. 

All Instrumentation - String programming by me.

Together - Climate Docuseries

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)

There is a slender stream in my output, but extending back five decades now, of music based on scales repeating, not at the octave, but at the fifth (or fourth).  In particular, while the effect here is always "locally pentatonic," as the piece progresses it grows increasing pantonal.  By the end all the pitch classes get equal treatment.  

By a "hypercanon," I mean a canon whose theme is itself a canon, and perhaps, and so on.  

Here the  ultimate theme and patterns of canonic repetitions have been chosen very carefully so that music has an overall constant density.  Get the math wrong and the music will just grow muddy or thin out prematurely.

A pulse unifies the rhythmic surface, but it beats so fast, on the order of 50 clicks per second, that the audible rhythm will not imply it even the pulse arguably still informs the rhythm.  So just as the tonality here doesn't count as either diatonic or traditionally atonal, the rhythmic profile is neither entirely "free" nor based on a perceptible count.

Another quite different interpretation of the underlying structure is forthcoming.  Watch this space.

Sometimes the New Place to Go Sits In Between the Places You Know, for piano

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.

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

Peter Thoegersen - Piano Collection II a

This is my fourth symphony, and I am using new software that sounds better. The new software is not microtonal friendly, therefore, there will be two versions: standard and poly microtonal. This version is in 12tet and it is still highly polytempic. Each choir of the orchestra is moving separately in Fuxian contrapuntal motions, such as, contrary, parallel, similar and oblique, with respect to tempi changes in the choirs.

Another fact about this piece is that it uses many fragments of Gregorian chant from the Liber Usualis and is scattered throughout the single movement piece. The chants are of various lengths and are brief. The form could be considered a type of "variation" form; even if the chants are not literally repeated, they do act as a type of chaconne, over which the symphony plays and explores.

Symphony IV: melodiae perpetuae in polytempic polytonality

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

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

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Sometimes the New Place to Go Sits In Between the Places You Know, for piano

David Victor Feldman

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Eliot Ray Burk

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No Mates Ensemble

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