2 Surges P.Op.246 - A.E.L

Timestamps + Description 0:00 Surge No.1 "Cascade" In Relative D P.Op.246 1:26 Surge no.2 "Marsh" P.Op.246 In Relative C Surge Description: "The surge in summary was me trying to combine the logic of a fugue and passacaglia together. The basic form 1. A bassline is made, that repeats throughout the whole work with maybe small variations for longevity sake. The bass line must have more than 4 notes, and be cylical. the catch is it HAS to be within modal relativity. For example if Relative G then it has to dance between the relative keys G Gb G# It doesnt always have to be all 3 in the bass line, but at least both must take precedence. I mean true bitonal precedence, not just doing harmonic minor with sharp 7s and trying to get away with it. Flattened hierarchy. Lol Some keys are objectively hard for this reason, because they naturally have the sharp 7 in their scale. But when you truly do it as nuanced as me it won't matter, but it means Relative C for example is odd because the piano has no Cb yet it has a C# and C # isnt part of C Major, or Minor. That said I use B as Cb, in relative substitution. Thats part of why I like drilling relative C, because C Major is a scale most see is 'boring' or over saturated. So i intentionally show its not. Which is why i came up with modal relativity in the first place. To show if you re shift the parameters, Tonality isnt finished yet. 2. It has to be polyphonic (multiple horizontal voices) 3. It has to be fugal (a general theme developed across the whole piece) 4. No breaks in the bass, there is a constant forward momentum 5. all variations are based on the relative notes, usually the bassline itself. So in summary its like a hybrid, imagine a passacaglia (yet with more pace), but with a fughetta on top. I've done a few pieces like this before but I wanted to really solidify a form and name. So rather than the fugues idea of "how can i very this? How long? How do i keep it interesting?" It is THAT + "how much can i do while staying centred around these 3 tonal centres" Its almost like practice for someone who composes how i do. It seems simple, maybe even simple to listen to but thats because im good at it now, its as natural as breathing. But to keep to relativity while doing all these in unison would be much harder for someone who isnt used to it. Especially making the bass line flow with such limits So its a playground for highly saturated relativity. In which all of my pieces that are relative when most saturated are basically : Polytonality Polymodality Polyharmony all in one In which there isnt a name for that yet when its all in 1. Maybe they'll call it hypertonality or something who knows That is why my works sound 'illogical' or as one angry guy said 'incompetent' because Modal Relativity at bare minimum is Bitonal. So people mistakingly think i dont know basic theory 🙃 For example C major in the left hand, C# Major in the right hand in some cases. But being able to then weave that in a way that isnt just identical to what people did 100 years ago like Stravinsky where they'd do it for shock factor for one bar etc is what makes it harder. I sustain it for several minutes Minor - Major tensions. Augment vs Dimin tensions. Modal tensions. Piano Sonata No.1 wasn't called 'Dark Equilibrium' for nothing Etc, its a completely different frame, and when you mix it all at once ? Of course it sounds crazy to some, while fascinating to others. But I always at the end of the day make it sound as great as i want it, its not a science experiment its music. Yet at the same time this is why i show the colours, to show that im not bluffing when im mixing these things together. But also to show i even do it. Like in the Surge No.2 when it ends up being A Major over the bassline which is a implied i guess C Minor, to B dimisnished. Which would be polytonality of 3 in that instance being maintained. A quick reminder of what modal relativity is in summary : Pick a key, lets say A. You take the relativity tones a step around it (Ab A#) You treat them as equal, you resolve, cadence, and pivot with them the way you would with A. You forget Minor-Major distinctions, you then use modes to smoothen the transitions to where it doesnt sound like straight chromaticism or Modulation. That is it in full. That is all"