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.

As of today, Sep. 4th, 2025, a finished mix is uploaded and will remain the finished midi version of this piece in 12tet using NotePerformer.

Symphony IV: melodiae perpetuae in polytempic polytonality

The winds are in quarter tones, the brass are sixth tones, the percussion is normal, and the strings are 8th tones. The choirs also modulate to and from 12tet throughout the work. There have also been added parts as I revise and edit. Yes, if you hear chants you know, I used them and they are all indicated and cited in the score. Nothing is STOLEN. I don't HAVE TO STEAL. enjoy. 

symphony 4 in Polymicrotonal Polytempic Perpetual Melodies

Fresh new Etude in new software, vst, controllers, synthesis, etc. Brooding over Trump cuts...preparing to die a la Beaudelaire Rimbaud. Despair ennui and death. 

Etude #50

This quartet is polymicrotonal with tuning systems: 17:19:21:23:25:28:31 in first violin; Arabic 12-tone Pythagorean in second violin; 7-limit tritone in viola; and 19/53tet in cello. The synth is 12tet, so it's actually a five-part poly piece rather than my standard 4 parts. The tempi are in loops and are in the ratios: 
10.25:3.25:6:23:4.25, for v1, v2, viola, cello, and synth, respectively. No score yet, coming soon. 2025.

The seventeenth incarnation of the string quartet series will be a small collection of short Polytempic polymicrotonal pieces with or without additional synth or other instruments. This piece is therefore a Synth Quintet; however, I view the synth part as an "equal democratic" participant and not a soloist.

Polytempic Polymicrotonal string quartet (quintet) 17a: punctilious gratuitous

This, my second mixed Trio in poly, features 17-19-21-23-25-28-31 seven note scale in the cello, that loops 6X against two polyrhythmic contrapuntal 24 unequal Pythagorean scale of al Farabi in the piano, and Ben Johnston's 6th Prime row of 25 unequal per octave, in the Clarinet. The interplay is finely thought out and responsorial. The poly trio is a new form I am experimenting with for more transparency for the contrapuntal interplay between the instruments in polymicrotonality. 2025

Mixed Trio in Polytempic Polymicrotonality #2

This is the mixed trio with bassoon added: Clarinet, Bassoon, Cello, and Piano. No fireworks. Just a rather nice low key ensemble. Neither morbid nor jubilant. This is the sister piece to the trio and Polymicrotonal Quartet. My pieces will have several versions. Actually they frankly always did, but it's much more deliberate now. 2025

Mixed Quartet in 12tet

A polycyclic piece with 5 looping cyclic parts not in a neat order, but not polytempic nor polymetric, either. Formerly a string quartet, but with added synth, is essentially a quintet. 2025

String Quintet in standard tuning with synth pad

Tunings are: five sets of differently tuned 17-19-21-23-25-28-31 overtones for piano, violin, marimba, trumpet and English horn, and 48tet for the guitar.

Polytempic Polymicrotonal Sextet for Piano, Violin, Marimba, English Horn, Trumpet in C, and 12-string Guitar

fucked up mess

This piece is an outgrowth of the previous sextet that is now a NONET, with English Horn, C Trumpet, violin, viola, cello, 2 marimbas, guitar and piano. This is fully polytempic, but is only standard tuned, no microtones. (unless of course 12tet in-itself is already microtuned as it deviates from just overtones) . This piece is sprightly and alive, quite the opposite of its composer, so that remains an enigma. 

Just Shut the Fuck UP, it's a Beautiful Day Outside and I have a Boner, so don't ruin it.

Like a wild Klezmer orchestra, everyone is going dixieland Mad with pdlytempo and polymicrotonality, for piano, guitar, violin, viola, cello, 2 marimbas, English horn and Trumpet. It's a mad drunken bar fight but, fun, a fun mad drinking bar fight. No one lives! Composed today and all week. This is related to the Boner happy day piece. You're welcome. 

Polymicrotonal Nonet I

This music is about how we are all fucked and Trump will destroy the Earth, as I've been fucking telling you idiots for the last ten fucking goddamned years and you just sat on your ass doing nothing. Happy Death. 2025

Nonet in Polytempic 12tet, updated version, for English Horn, Trumpet, Violin, Viola, Cello, two Marimbae, Piano and Guitar

Music for English horn, trumpet, violin, viola, cello, two vibraphones, guitar and piano. Tunings will be discussed later. Working on score, still. This piece is constantly evolving. 2025

Polymicrotonal Nonet, without Polytempo, version 2, for Violin, Viola, Cello, English Horn, Trumpet, 2 Vibraphones, Guitar and Just Piano

Totally synthesized version of nonet for acoustic instruments, all with samplers. Relax and enjoy, or I'll kick your fucking ass. 

Nonet synthesized, Version III

2 Trumpets, Horn in F, Trombone, Tuba in 99-98-97-96-95 ratio tempi relationships with "large" quarter and eighth tone modulations. Quasi tripartite form in a Schoenbergian sense in that there is no tonic-dominant axis for formal constraints, yet the microtonal modulations act in place to delineate form. Simple retrograde is employed to a general singular "diatonic" line multiplied and displaced by the pdlytempo. This is not phase music. This is still polytempo but at micro rhythmic gradations. Each tempo is marked by a .5 beat difference between the five parts. There is no convergence, only separation, like our country. Frankly, like the world today.

Polytempic Polymicrotonal Brass Quintet 1a

Peter Thoegersen meow meow

Dictator Trump has taken over and is killing everyone while the republinazis clap with joy. Kristalnacht for alles ...2025.

This is a polymicrotonal piece for flute, violin, cello and piano with some extended techniques and microtones count as extended techniques. Or I'll kick your fuckin ass.

A Hopeless Day in Vain I Search for Meaning and There IS NONE, Whatsoever

The program Neural Network, a stem separation algorithm, helped me recover some of the midi in the audio file, of which I rearranged from strings, flute and piano, to brass. The midi was recreated at a very slow tempo, so I made this version at a tempo of quarter note = 1528 bpm. It both sounds and not sounds like it. It is, of course, impossible to read and play, as the measures zip by in fractions of seconds. AI robot music performance for the future! 2025. Standard tuning and single, but fast, tempo. 

A Hopeless Day in Vain I Search for Meaning in Life and find NONE Whatsoever: version 2

Four instruments display various musical behaviors whilst encapsulating four distinct microtonal systems: 19, 22, 48, and 53tet EDOs. The instruments are guitar, bowed harp, cello with electronic reverb, and metals with hard edge percussive mallets. Underneath are 53tet micro intervallic voice leading. Composed 2025. I tried Neural Network for a score for this one, but was unsuccessful. These poly-etudes are generally without score anyway, but I had thought about transcribing them with the new AI stem tools these days, but they still need work. 

polymicrotonal etude 53

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

a guitar track in 24/60 tet played lightly with tenderness. 2025

solo microtonal guitar #1

The previous microtonal guitar track along side a strange linear percussive beat with bass and drums. 2025

Microtonal Guitar w bass n drums in a semi-clunky fashion that drives academics insane.

Some haptic nonsense with tone wheel organ, microtonal guitar, drums and bass and some MidiPipe solving problems with virtual ports in Logic Pro. Solving problems. 2025. Meow.

Return of Harmiklot: The Return of the Weird Guy, part i

Microtonal guitar solo featuring a 12tet + 15tet polymicrotonal tuning system with 24 out of 60 pitches. 2025. 

Microtonal Guitar #2: in between the pitch

crazy guitar

Triplet African feel with fast 8th note displacement under a Microtonal Guitar screaming subtle microtones quietly while Saul Pimon plans his next world tour. Not really. it's just me. 

Micro guitar in Africa w Paul simon (not really)

53tet microtonal guitar along with electronic drum kit arrangement

Microtonal guitar #3, with Maschine drum arrangement

A 12/8 Africanesque rhythm with Guitar in unequal 24/octave tuning and Viola in a heptatonic unequal overtone tuning. Both stringed instruments are in a 5:4 ratio with the rhythm . 2025. Scoreless, as most etudes of Poly are. 

Polytempic Polymicrotonal Etude #55: 12/8 Beat in 80 with Polymicrotonal Guitar and Viola in 100 bpm

Some 53tet guitar alongside two loose Drumsets like the way I used to play real drums around Los Angeles. 2025

Two drumsets and microtonal guitar

Free drums with Carlos Alpha Cello and 53tet guitar in a soup of deliciousness. drums repeat to create a form of "theme and variations, over  4 passes as the cello and guitar create alternate passages. 

Polyrhythmic Polymicrotonal Etude with Drums, Guitar and Cello #56

a little bit of the ol IN OUT if you know what I mean. 2025

Circuit Rhythm Noise Test for Imbeciles Like Me

A piece in 5/4 with two tunings: 12tet and 22/octave Shruti, with pure 25 cents enharmonic tone differences, and Maschine in standard 12tet and modal, with jazz feel drums external to that, playing over the sequenced Maschine .  Thanksgiving Eve, 2025

Polytempic Polymicrotonal ECM fusion w Maschine, Drums, and Microtonal Piano

Three tempi collide in this Thanksgiving Day Parade War Zone Fuck You piece, with Circuit Rhythm patterns in one tempo, sped up and slowed down, and added fx, with a faster template of the midi pattern in another Logic Drumset, with Pianoteq piano in Carlos Alpha 16 note octave tuning played by drum controllers, both Maschine and the KAT pad system. Polytempic Polymicrotonal (two tuning systems) and mass geopolitical war and confusion causing contusions on this illusion of reality, which sucks like no other period in history. Maybe except the holocaust, which is coming, again. And again and again and again, echo......echo............

Thanksgiving Day Parade, 2025: FUCK TRUMP AND HIS IDIOT CABINET

Crazy Music. 2025. Circuit Rhythm, Logic Pro 11, Pianoteq, wave samples, tar samples, 17/53 tet microtonal pitch set

Project 19: microtonal noise with Circuit Rhythm and other VSTs

music for piano and drums

A sampled violin is distorted and sequenced in Circuit Rhythm, along with microtonal guitar in Carlos Beta tuning and 12tet piano with pitch bending, in two sections--peace to war. Trump Hitler's war on planet Earth. 2025. 

When It Became Violent and Dangerous, as if Hitler Came Back from the Grave

THE HORROR THE HORROR (Trump killing everyone)

To all concerned: 
I am announcing publication of my new book, NOW AVAILABLE:
https://www.routledge.com/Maqam-Melodies-Pitches-Patterns-and-Developments-of-Music-in-the-Middle-East-and-other-Microtonal-Writings/Thoegersen/p/book/9789815129052
My book, Polytempic Polymicrotonal Music, is available on Amazon. 
https://www.routledge.com/Polytempic-Polymicrotonal-Music-The-Road-Less-Traveled/Thoegersen/p/book/9789814968294

I have a new album out through Magic&Unique Group Records on Spotify and other digital streaming platforms:
https://open.spotify.com/album/5qWHmcvyAemvVn2TJH1bio?si=OD5TmPptQ-ypr8WOI0EZKA&nd=1

https://whitecentipedenoise.com/products/peter-thoegersen-facebook-cantos-cdr-flea
My CD via Flea label has been out since April, 2021, featuring the wonderful Lore Lixenberg singing over my microtonal piano accompaniment
Hope you enjoy it!

https://www.newworldrecords.org/collections/vendors?q=Peter%20Thoegersen

From the liner notes on my CD now available on AMAZON and New World Records:
"The author of these notes has spent his life explaining radical music, and the music on this disc may be the most radical I've ever written about. Peter Thoegersen (b. 1967) is not yet a name known to the music world; not for any lack of connection to other famous musicians, but because he came to composition late, and because his artistic aims are so broad and complex that they have taken years to evolve. His aesthetic is well defined, and he is upfront about having a name for it: "Polytempic Polymicrotonal Music." That means he has musical layers simultaneously moving in different tempos, plus, even more radically, that he has different microtonal scales playing at the same time. Few composers have aimed at such fervent and heterogeneous multidimensionality. And yet, while Thoegersen's music can seem overwhelming at first, running through it is a level of charm and simplicity that belies the initial impression.

In total, these three pieces emphasize a particular side of Thoegersen's output. The image his music creates of ornately mathematical structures filled with intuitively friendly melodies maps on to the personality of the man himself: outspoken and acerbically ruthless in his musical opinions, Thoegersen is also marked by a jolly sense of humor and an inexhaustible love of cats and other animals that make him ultimately less imposing and more personable than he might seem at first. The same can be said for his music. And by going further than anyone else has gone in terms of this particularly American concept of fusing the polytempic with the polymicrotonal - extending and combining the conceptual worlds of Ives, Cowell, Nancarrow, Partch, Carter, even Frank Zappa and many others - he has created a special place for himself within American music."                                                             

-Kyle Gann (from the liner notes)

pthoege

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