I’m continuing to plug away at some compositions for a planned release, Koi Dance. This week I’m featuring a solemn but hopeful duet.
I’m continuing to plug away at some compositions for a planned release, Koi Dance. This week I’m featuring a solemn but hopeful duet.
I’m continuing to work on my pond-based pieces, and have a fourth piece completed. This duet incorporates whole tone scales, which possess a mystical, mysterious quality. The piece is broadly in Bb major, but the second and third sections feature some secondary dominants that, at times, push the key closer to D major. The whole tone scales also give a sense of atonality to sections of the piece, representing the mystery of moonlight.
Over the course of the last two years I’ve composed a ton of music. I treat composing the way the Native Americans treated the mighty bison: I don’t waste anything. That means I probably release a lot of “filler” tunes, but I find that pieces I think of as throwaways compositions are sometimes the most popular.
I do not know if the pieces shared today fall into that category. But for whatever reason, I like writing pieces with “Roll” in title. These are always based, in part, on food.
The first of these was “Orange Roll,” an odd little piece in 5/4 time. The “Orange” comes from the fact I used an orange pen to compose it; the “Roll” came from the rolling feel of the melody.
Later, I wrote “Tomato Roll,” a clarinet duet in 5/8 time. I wrote the piece mainly because I spent way too much time drawing a detailed tomato in MS Paint as a way to illustrate a concept to my Economics students during a couple of days of online learning.
Finally, I recently composed “Crunchy Roll,” which is a bass guitar in 3/4 and 4/4, but with lots of odd timing.
But enough of my yakkin’—let’s boogie!
Apparently, I failed to make videos for all of the pieces on Leftovers IV. Indeed, I neglected to upload a lot of the goodies that I usually include with digital purchases of albums; that has now been rectified.
So I am back to looking at some tracks from that short EP. This week’s is one of my favorites: “The Magic Forest.”
Earlier this week I posted one of my recent compositions, “Clarinetti” (the Italian plural for “clarinet”), and I’ve composed quite a bit for the instrument over the last year; as such, I thought I’d cast a glance back at some pieces that feature, or at least use, clarinet:
Squidward would be pleased.
Happy Sunday!
—TPP
Other Lazy Sunday Installments:
Pickup my newest release: The Galactic Menagerie! Use promo code obesekangaroos to take an additional 20% off all purchases on Bandcamp! Code expires at 11:59 PM UTC on Friday, 4 April 2025.
With the release of The Galactic Menagerie last week, I’m really digging into the pieces from the album. I compose these collections so quickly—and often have already started on another album by the time one releases—that I sometimes forget what the compositions sound like!
That’s not the case with today’s piece. It’s weird little melody that, honestly, makes me a little anxious when I hear it. That is, perhaps, appropriate: it’s about a crafty species of underground oddballs and their doubtlessly wicked machinations.
My readers have been clamoring for more covers of classic rock and pop hits, but I continue to deliver up self-indulgent neoclassical foolishness. Have no fear, friends—I will have some timeless classics back soon.
For now, I’m offering a three-for-one deal with a polytonal piece of reedy churchiness.
Last Friday, 1 March 2024, I released Epistemology, my latest collection of original compositions. I personally think it’s some of the best of my newer works.
You can listen to and/or purchase Epistemology through the following services (and more!):
This week, I thought I’d feature the title track of this epic release.