The Codices, part 3
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| J.S. Bach: Two-Part Invention No. 13 |
I discussed the Codex solo album series in these blog posts:
Recently, a friend asked what makes a solo piece a Codex piece. I thought that was a good question and probably deserving of a blog post to explain.
The Codex compositions are all very polytonal. Mostly due to my two-handed technique on the double-necks wherein I simultaneously have one hand on each neck, and each hand is producing an independent line or lines or harmonic structures. Or, to put it another way: two-part (or two-voice) compositions.
Not all the doubleneck instruments are in the same register; some are in contra E tuning, and others are in sub-contra D and sub-contra C tuning. Additionally all the doubleneck instruments have differing tunings on each neck, such that each instrument is a defacto polytonal environment within itself. This greatly adds to the polytonality of the Codex series.
That said, I know there are sections of Codex compositions that will be on the albums Codices Nos. 5 - 8 that have passages of three-voice compositional techniques. I've attempted to limit the three-voice sections, as there will be a set of solo recordings focusing on three-voice compositions in the near future. The three-voice solo pieces will not be a part of the Codex series, and will have their own series and titling conventions.
I've not added the compositional three-voice recording sessions to the studio calendar as yet, but they'll likely begin in late 2026.
Recording sessions for the Codex series continue.
-kk
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