A post-tonal representation of the Chernobyl Nuclear Explosion.

Radiatsiya

This piece is an example of contemporary piano music, which combines elements of post-tonal and postmodern style. Post-tonal style involves breaking away from the traditional tonal system and exploring new ways of organizing sound material. Postmodern style, on the other hand, is characterized by conscious references to various musical traditions and conventions, often in an ironic, humorous or critical way. Both aspects can be noticed in this piece. The composer uses various scales, creating interesting harmonic and melodic effects. The piece does not have a clear tonal center, but relies on rhythmic and intervallic motifs, which are subjected to transformations. The composer also uses the technique of polyrhythm, which means superimposing different rhythms, giving the piece dynamism and tension. This is music that requires attention and openness from the listener, but also gives a lot of satisfaction and pleasure.

A Puzzling Piano Piece in a Hybrid Style

Beer Flight is a completely ridiculous and interminable thumbing of my nose at multi-serialism, complete with involuntary audience participation, composed in 2022 for a Post-Tonal Music Theory assignment when I was getting my Master's degree, and submitted appropriately enough on April 1st.

This piece is scored for two trumpets, horn, and tuba. The 12-tone series used for this composition is:
6	10	1	3	11	8	2	0	4	9	7	5
The duration of notes will be based upon the number of eighth note beats, starting with 0. So, 0 is an eighth note, 1 is a quarter note, and so on. The duration of a row's notes will be determined by the row beneath it or adjacent to it on the matrix. So, if the player is currently playing P4, the duration of the notes in the row will be determined by P6. If the player is playing I8, the duration will be determined by I6. Each player will play all twelve rows of the matrix, but the four players will travel the matrix in different directions. The first trumpet will play P, the second trumpet will play I, the horn will play R, and the tuba will play RI.
To the left of each player there should be a metal bucket. To the right of each player there should be a small table, with twelve 2 or 3 oz. glasses filled with a variety of beer selections. As each player completes their row, they shout the name of a beer and chug it, corresponding to the final note in that row (indicated in the score). The glasses must be labeled by number and filled with the following:
 
0 – Stout
1 – Doppelbock
2 – Porter
3 – Lambic 
4 – Bock
5 – IPA
6 – Dunkelweizen
7 – Wheat
8 – Amber
9 – Kolsch
10 – Lager 
11 - Schwarzbier
 
**Involuntary Interactive Audience Experience**
Each row of the theater will be equipped with a mystery box on the back of it. The boxes must be black, with a menacingly pink question mark painted onto them. The boxes will be distributed at random throughout the theater and in no predictable pattern. Whenever each row of the piece ends, the mystery boxes corresponding to that final number of the row will open, at which point a fun and exciting surprise will be launched at the audience member sitting behind that box. On the inside of the box, after the surprise has been revealed, a painted number inside will show the audience member which box they had, ultimately revealing to them P0, allowing them to share in the fun experience of 12-tone serialism.

The boxes will be spring-loaded with the following items, to be launched at the appropriate time according to the final number in the row (as indicated for the stage manager in the score):

0 - Banana Cream Pie
1 - A Live Chicken
2 – Gummy Worms
3 - Silly String
4 – Strawberry milk and Rainbow Confetti
5 - Shaving Cream
6 - A mixture of Lucky Charms, Rice Chex, Golden Grahams, Cheerios, Wheaties, Apple Jacks, Frosted Flakes, Grape Nuts, Fruit Loops, Cocoa Puffs, Frankenberry, and Cap'n Crunch. (Multi-Cerealism).
7 - Melted Rocky Road Ice Cream
8 - Lime Green Jell-O
9 - Cheese Whiz
10 - A full Surf 'n Turf Dinner
11 - KFC's Eleven Herbs and Spices

***Additional performance instructions:***

When a player shouts "Amber" any audience member with that name may slap the person next to them.

When "IPA" is shouted, any Canadians are permitted to leave and use the restroom.

Beer Flight

This composition is a choral chant for 6 voices with post-tonal music, lyrics that reflect on the passage of time and interpretation made using voice synthesis software.

A fairly detailed introduction to this work can be read at the following links:

Introduction in English:
https://drive.google.com/file/d/1hz2Nwfho2emnLZwwSW0o-qY9jVeGZZJv/view?usp=sharing

Introducción en castellano:
https://drive.google.com/file/d/1NtbVN6-e5ovCm4dyx7QFSdxxvducTGdI/view?usp=sharing

Introducció en català:
https://drive.google.com/file/d/1e7Gz2a1LF_WfVpjjg8zg1yBzJMxQq-Mx/view?usp=sharing

MOLTS ANYS !    -.-Cor a 6 veus-.-

Nr. 1 from Faustus Songs, composed in 2014, on excerpts from Marlowe's The Tragical History of the Life and Death of Doctor Faustus.

Lisa Perry, soprano. Bethany Slater, oboe; Nick Mazziott, trombone; Lavena Johanson, cello; Francesca Hurst, harpsichord. R. A. Baker, conductor.

Faustus Songs, I. Master Doctor Faustus

Nr. 2 from Faustus Songs, composed in 2014, on excerpts from Marlowe's The Tragical History of the Life and Death of Doctor Faustus.

Lisa Perry, soprano. Bethany Slater, oboe; Nick Mazziott, trombone; Lavena Johanson, cello; Francesca Hurst, harpsichord. R. A. Baker, conductor.

Faustus Songs, II. Nothing so sweet

Nr. 3 from Faustus Songs, composed in 2014, on excerpts from Marlowe's The Tragical History of the Life and Death of Doctor Faustus.

Lisa Perry, soprano. Bethany Slater, oboe; Nick Mazziott, trombone; Lavena Johanson, cello; Francesca Hurst, harpsichord. R. A. Baker, conductor.

Faustus Songs, III. Time doth run

Nr. 4 from Faustus Songs, composed in 2014, on excerpts from Marlowe's The Tragical History of the Life and Death of Doctor Faustus.

Lisa Perry, soprano. Bethany Slater, oboe; Nick Mazziott, trombone; Lavena Johanson, cello; Francesca Hurst, harpsichord. R. A. Baker, conductor.

Faustus Songs, IV. What art thou

Nr. 7 from Faustus Songs, composed in 2014, on excerpts from Marlowe's The Tragical History of the Life and Death of Doctor Faustus.

Lisa Perry, soprano. Bethany Slater, oboe; Nick Mazziott, trombone; Lavena Johanson, cello; Francesca Hurst, harpsichord. R. A. Baker, conductor.

Faustus Songs, VII. Fair nature's eye

On One

from the album: Ritual of the Elements
sparkybonehead.bandcamp.com/album/ritua…he-elements

the Fire Ritual

I make music in my free time because the regularness of everyday life is too hard for me…

When i'm not playing video games....
...i listen to and create Music.
I get into everything: Abba to Zappa...Grindcore to Gershwin...Nine Inch Nails to Nina Simone...Mike Oldfield to My Bloody Valentine to Miles Davis
  I LIKE MUSIC....composing and listening   😎
For the record: I am a keyboardist and sometimes drummer. About 90% of  the keyboard work is me actually playing a Yamaha Midi keyboard. Now you know...

A piece of music is a mentally constructed entity, of which scores and performances are partial representations by which the piece is transmitted.
(Fred Lerdahl & Ray Jackendoff)

Any tone can succeed any other tone, any tone can sound simultaneously with any other tone or tones, and any group of tones can be followed by any other group of tones, just as any degree of tension  or nuance can occur in any medium under any kind of stress or duration. Successful projection will depend upon the contextual and formal conditions that prevail, and upon the skill and soul of the composer.
(Vincent Persichetti)

Music is a system of signs composed of complex forms which may be represented by physical sounds, and which in this way mediate between mental and psychic contents. To deal with such a system, semiotics are naturally evoked. To describe these forms, mathematics is the adequate language. To represent these forms on the physical level, physics are indispensable. And to understand the psychic contents, psychology is the predestined science.
(Guerino Mazzola)

Wojciech Płocharski: a versatile writer, a musical storyteller, a member of the Society of Authors, and a wanderer. He penned the Polish radio hit 'Klub wesołego szampana', a catchy and witty song that captures the spirit of his generation. He also composes contemporary classical music that blends tradition and innovation. He has been a reporter, a foreign correspondent, a news editor, an editor-in-chief, a new media campaign advisor, and more.

I am a young composer, studying Composition at the Royal Welsh College of Music and Drama, and singer-songwriter, with original compositions and songs.

maxmusic1123@gmail.com

New tracks tagged #Post-tonal