Program note

Compositions Nos. 11 - 18 follow a similar structure or idea. What connects them all together is their main harmonic progression: i - VI - III - V. It is a harmonic movement used in many of Philip Glass’ compositions and I wanted to experiment with it. The goal was to try and hide the chords in the composition so that they get progressively harder to hear clearly or they become less important to the composition.

Rewrites

Composition No. 11 was formerly the first piece in a cycle I called Transcendental Compositions. While reviewing my work before putting it online, I decided to rename this piece to Composition No. 11. Transcendental Compositions were an unfinished cycle and I did not want to finish it now because I felt I moved on from this particular style of composition. This is why the number of the compositions doesn’t necessarily suggest the order in which these pieces were composed.