Sheet Music Archives - Peter Saltzman

American Tune: A String Quartet in Four Acts

by Peter Saltzman | Jan 20, 2023 | Music, Sheet Music, Uncategorized

A Masterpiece from My Middle Period Peter Saltzman · American Tune: A String Quartet in Four Acts (LIVE RECORDING) By the time you reach thirty or so, if you have designs on becoming a great composer, you should have pretty much mastered the art. At least, that’s what...

Jazz Counterpoint 101

by Peter Saltzman | Sep 5, 2020 | Sheet Music

About This Work I composed this piece in 2007 as a challenge to myself—could I write a convincing piece of music for piano with just two voices? There were other limitations, expectations, and general rules involved. Most importantly, it had to be in a contemporary...

Beginner Blues Variations for Piano

by Peter Saltzman | Aug 31, 2020 | Sheet Music

When I started giving my older daughter piano lessons when she was about four-years-old, I was convinced that she needed to start with the blues. Many years later, having subsequently taught several young children (in this case, I am paid to do so,) I’m not so...

Improvisations on the Ledge

Improvisations on The Ledge

In “Improvisations on the Ledge,” award-winning composer-pianist Peter Saltzman searches for universal truths by stumbling upon them—both with words and music. The basic premise is simple: he improvises on the piano, then talks about what the music tells him. Then makes music about what the talking tells him. Then…well, it goes on like this. Droll, funny, dramatic, musical, short.

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The moment a theme is stated, it wants to do something. What? Like all lifeforms, it wants to replicate, mutate, transform…become something. That something is musical structure.

How we get from a single note to a theme (motif), to a full-blown musical structure (song, free improvisation, symphony) is seemingly a mystery. And yet it’s not.

Due to a naturally occurring acoustical phenomenon known as the overtone series, one note is not actually one note—there are in fact many notes vibrating above the single note (the fundamental) we think we’re hearing exclusively.

But consciously or not, we have an innate awareness of those other notes, the overtones that ring out from the fundamental. And that awareness, at some point in human history, led us to pluck those notes out of the air, string them together into themes.

And then what did we do? We repeated those motifs, and they become something larger. First simple melodies. Then, as we repeated, we varied: shifted a pitch here, altered the rhythm there, played the motivic idea from another starting point in the scale.

In no time (though nobody knows how many centuries or millennia “no time” took to unfold) we had the beginnings of musical structure.
Music exists in time, evolves in time. As soon as you repeat something over time, and then vary it, you are effectively creating an incipient structure—whether you intend to or not.

At some point in musical history, humans began to mean it—to order notes intentionally. But that intention always leads back to one note which has within it the potential to become all notes—themes, melodies, songs, and larger structures.

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