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Igor Stravinsky piano musical compositions were comprehensive in composition that kept to the traditional compositional styles. On the other hand, his compositions were characterized by several techniques in a single production. He made use of repeated figures to drive the music forward and create unity besides an overall familiar texture to the whole composition. Besides, his music had great rhythmic interest characterized by polyrhythm and syncopation. Moreover, Stravinsky made use of uncommon time signatures that created a wakening effect to the downbeat (Dimond, 2009) Stravinsky’s piano compositions further had complex textures and prominent triton scale intervals that prevailed in harmony and melody. He further made use of slow oscillations in between opposing sounds and further incorporated dissimilar speeds of tremolo between clarinets and horns.
Paul Hindemith compositions were mainly characterized chromatic modality whereby the composition foundation line had a fixed pitch hierarchy hat was organized in accordance to the distance from the home tone and variation in weakness and strength of tonal relationship. Hindemith made use of both harmonic and linear tones between pitches. Besides, the chord root strength was dependant on the various tones incorporated in the composition. As a result, the chords in his musical composition were structured from any interval (Hass, 2000). Hindemith classified the chordal types and intervals he incorporated in his compositions on special tables in accordance to the harmonic dependence and its relation to the rest of the tones. As a result, Hindemith’s compositions were established on a harmonic fall and rise depending on the chordal dissonance or consonance of the composition.