BookatlasPiano Rabbit Hole: Improvisation Theory & Practice
9894 / 18210 · Workshop 81 — Polychords and Bitonal Hearing: Two Harmonic Worlds at Once, Upper Structure vs. True Polychord, Controlled Clashes, and Making “Wrong” Chords Sound Intentional← prev⊞ allnext →

81.104Mini-composition exercise

Write a 32-bar piece moving from ordinary tonality into polychordal tension and back.

Requirements:

  • first 8 bars use conventional harmony
  • one ordinary upper structure that does not yet sound fully polychordal
  • one separated-register triad-over-triad sonority
  • one polychord with a common tone between layers
  • one polychord featuring a major/minor 3rd clash
  • one chromatic upper triad resolving by parallel semitone motion
  • one section with fixed lower harmony and moving upper triads
  • one section with fixed upper triad and changing bass
  • one bitonal passage lasting at least four bars
  • one rhythmic distinction between lower and upper layers
  • one modulation achieved by introducing the destination key as an upper layer before transferring the bass
  • final resolution must use significantly simpler harmony than the climax

The piece should sound like:

one world → two worlds → one world again.