Most of the music I’ve written for piano over the past few years has been based on three recurring ideas: 1) repetition, in regards to both notation and mechanics; 2) symmetry, in varying degrees; and 3) a minimal tonal range of the instrument, though not harmonically minimal, arguably. The Prelude in E Major is a reasonable example:
I’ve included fingerings in the printed music, which are nothing more than suggestions; others may find more suitable solutions. As well, there are no dynamic markings; those decisions may be made at the performer’s discretion. And while there are repeat signs for every bar, the repeats may be ignored or bars can be repeated as many times as the performer prefers.
This prelude can also be heard in a lengthier and effected manner on Human Once.