Composition No. 9

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Composition No. 9 is a highly reductionistic piece and is one of the last of my piano compositions to be written this way.

Program note

Composition No. 9 is written in two parts, which almost sound like two different compositions and the transition between these parts is not smooth but sudden. I do not remember exactly why I wanted the piece to sound like this, however, similar to many of my pieces for piano, it was a product of improvisation. The idea was organic and I naturally went for this sudden change.

The harmony of Composition No. 9 is not traditionally tonal. It again employs some common-tone chord progressions (e.g. I - iii - ♭III). The chord progression in the first part is centered around E♭ major, however, this chord is never played and is only present in upper extensions. The chord progression actually looks like this: ii^m11 (it could also be written as a polychord of I/II) - v (notated 𝄪iii) - ♭VII⁶ (notated ♯VI⁶) - VII^dim - V.

The melody is practically non-existent.

Rewrites

Composition No. 9 was never rewritten or modified, although, it was considered several times. After a certain amount of time between the composition and the present, I grew fond of the sudden change in mood, harmony and tempo. I do not think I will be rewriting this piece.