I like May Day. I also really like playing in two keys at once - I've been playing and talking about it prominently on this blog.
Today I basically set out to play in D Major in the RH and Bb Major in the LH. What invariably happens is both hands go in and out of either key on their own. This is due in large part to my preference for smooth integration. I really am thinking of the composite scale or key that both of these particular keys make, i.e. a new scale or key. Then I'm free to think in any combination of: separate keys, separate hands, combined hands, combined keys, flowing from one key or hand, to other key or hand, etc.
This piece isn't a chord progression, in my mind. I'm so intrigued with blending the two tonal entities that that's enough to keep me interested. I think I consciously went to the four chord and back at one point so the progression was super simple. The swirling and moving around with two keys in mind simultaneously makes it sound like it's going somewhere by itself. Just making a move up to the four chord required some thought (and probably is the reason I remembered going there!), as it's more complicated than transposing up to G Major over/with Eb Major. I also had to keep the home or root key in mind as I didn't modulate, I went from a bi-tonal root to it's bi-tonal four chord - bi-lydian. I also can choose to blend the four distinct Major chord sounds together, and it just gets crazier after that.
Today I basically set out to play in D Major in the RH and Bb Major in the LH. What invariably happens is both hands go in and out of either key on their own. This is due in large part to my preference for smooth integration. I really am thinking of the composite scale or key that both of these particular keys make, i.e. a new scale or key. Then I'm free to think in any combination of: separate keys, separate hands, combined hands, combined keys, flowing from one key or hand, to other key or hand, etc.
This piece isn't a chord progression, in my mind. I'm so intrigued with blending the two tonal entities that that's enough to keep me interested. I think I consciously went to the four chord and back at one point so the progression was super simple. The swirling and moving around with two keys in mind simultaneously makes it sound like it's going somewhere by itself. Just making a move up to the four chord required some thought (and probably is the reason I remembered going there!), as it's more complicated than transposing up to G Major over/with Eb Major. I also had to keep the home or root key in mind as I didn't modulate, I went from a bi-tonal root to it's bi-tonal four chord - bi-lydian. I also can choose to blend the four distinct Major chord sounds together, and it just gets crazier after that.