Aaron Wyanski, komposer, pianis lan musicologist sing dikenal ing Maine, terus eksplorasi lan penghormatan kanggo komposer gedhe Arnold Schönberg karo trio karya anyar sing disebut SCHOENBERG: Drei Klavierstücke, Op. 11. Dandhut karo komposisi Schönberg saka umur muda lan konsep atonality, iki minangka Wyanski ketiga ing serangkaian lelungan ing konsep liwat medium jazz.

<pfseg id="0">Dapat dikenal saiki minangka salah siji saka teori musik paling terkenal ing sajarah, teori atonalitas Arnold Schönberg (ngandhut dheweke ora ngerti ing istilah nyata) lan struktur wis dianggep minangka salah siji saka paling berpengaruh ing musik modern, komposisi ing awal abad ke-20 nyedhiyakake jinis jazz kayata kita ngerti saiki, lan maju menyang sawetara jinis sing populer saiki.

<pfseg id="0">Sampun mayoritas komposisi Schönberg isih ana ing gaya klasik lan set, Aaron Wyanski bisa gampang ndeleng hubungan antarane musik klasik lan jazz liwat konsep atonality. SCHOENBERG: Sechs kleine Klavierstücke, Op. 19, SCHOENBERG Suite Op. 25 lan paling anyar SCHOENBERG: Drei Klavierstücke, Op. 11 nggunakake penguasaan Wyanski saka atonality lan dissonance, komposisi klasik lan jazz kanggo nggawe tampilan nyata anyar ing visi master tua.

Atonal music collapses this binary. Historically, consonances were justified theoretically by the harmonic overtone series—the physical phenomenon that allows for our perception of definite pitch. The basic building block of tonal harmony is the triad, which is made up of the first three different notes in the overtone series. But Schoenberg argues that, since actually every note is present in the overtone series, just farther along the line, the difference between consonance and dissonance is only one of relation—an artificial boundary. As with most binaries, this collapse reveals that the binary was false all along. For me, this is one of the most beautiful things about the universe. Really take that in for a moment: when you hear one note, all notes are present. A single pitch is an infinity.

Following the idea not only from Schönberg but with other dissonant and experimental artists such as Frank Zappa and Philip Glass, Wyanski's compositions almost have a musique concrète feel to them, being seemingly disjointed compositions that also loop back on themselves. The intersection of all these loops creates that "all notes are present" feel that's so key to these three compositions. SCHOENBERG: Drei Klavierstücke, Op. 11 is a thought-provoking listen, but one which ultimately shows the intricacies of music, laid bare, rather than covering them up with melody or some illusion of continuum. If there's any continuum here, it's the infinity of music, and Wyanski wants us to hear it.

‍SCHOENBERG: Drei Klavierstücke, Op. 11 is out now. Stream on Spotify.

Aaron has also released another Schoenberg release titled "Two Pieces: Op. 33 and 33B."