For sheet music of my compositions and arrangements, visit Sheet Music Plus. Many of my compositions celebrate the beauty of mathematics.

Prelude on "Erschienen ist der herrlich Tag" for Flute and Piano

Prelude on "Holy Manna" for Clarinet and Piano

Prelude on "Beach Spring" for Clarinet and Piano

Prelude on "It's Me" for Piano

Prelude on "Prospect" for Flute, Bassoon, and Piano

Prelude on "St. Columba" for Flute and Piano

Touch of Zest for Piano

Zigzag for Clarinet and Piano

The Boulder for Piano

Prelude on "Resignation" for Violin and Organ

Prelude on "Nobody Knows" for Piano

The Champion for Flute and Piano

Pendulum for Clarinet and Piano

Falling Leaves for Clarinet and Piano

Problem Solver for Clarinet and Piano

Wave Form for 2 Flutes and Piano

Reverie for Clarinet and Piano

The Last Line for Oboe and Piano

March for Clarinet and Piano

Clockwise Spiral for Oboe and Piano

Golden Root for Trumpet and Piano

Night Air for Piano

Fine Point for Clarinet and Piano

Power Play for Trumpet and Piano

Skipping Stones for Piano

Arabesque for Clarinet and Piano

Going in Circles for Piano

Balancing Act for Flute and Piano

Nocturne for Clarinet and Piano (Inspired by Emil Post's Tag System)

Reflection for Oboe and Piano (on the Enumeration of Partitions by Binary Representation)

Rondo in C Major for Piano

Siphonophore for Piano

Infinite Staircase for Piano and Organ

Puzzle Piece for Piano

Deep Roots for Piano

Prelude in E Major for Piano

My Brain Is Open (A Tribute to Paul Erdos) for Piano

Reflection for Piano (on the Enumeration of Partitions by Binary Representation)

Prelude in G Major (Bubble Sort) for Piano

Pendulum for Piano

Wave Form for Piano

Golden Ceiling for Piano

Nocturne for Piano (Inspired by Emil Post's Tag System) - shorter version

Nocturne for Piano (Inspired by Emil Post's Tag System) - longer version

Two-Gen Swing for Piano

Dialogue of the Evil and the Odious for Piano

Balancing Act for Piano (Inspired by Sequence A005812 in the OEIS)

Hailstone Etude for Piano (The Hailstone Sequence and the Collatz Conjecture)

Spiral Study for Piano (on a Golden Ratio Fractal Sequence)

Toccata in A Minor for Piano (Miwin's Dice)

Waltz in C Major for Piano (Derangements)

Toccata in A Minor for Piano (Interleaved Multiples)

Humoresque in A Major for Piano (Leaf Nodes in a Binary Tree)

About Me

picture

Konrad Harley (1986-) received his ARCT diploma in Piano Performance at the Royal Conservatory of Music in Toronto in 2007, his B.Mus. degree in Organ Performance at the University of Toronto in 2008, and his Ph.D. in Music Theory at the University of Toronto in 2014 ("Harmonic Function in the Music of Sergei Prokofiev"). While studying at university, Konrad Harley was the organist and choir director at Christ Church Woodbridge (2006-2013) and the piano accompanist of the Queensmen Male Chorus (2006-2012). In 2016, he presented a paper on Prokofiev's harmonic language at the Symposium on Prokofiev and the Russian Tradition in Baton Rouge, Louisiana. An essay by Konrad Harley on the analysis of Prokofiev's music is included in the book Rethinking Prokofiev (Oxford University Press, 2020). Since 2015, he has been the organist and choir director at St. Barnabas Church in Toronto.







Doctoral Thesis

Read my dissertation here (University of Toronto TSpace)

Title: Harmonic Function in the Music of Sergei Prokofiev

Author: Konrad Harley

Advisor: Ryan McClelland

Institution: University of Toronto, Faculty of Music

Keywords: Harmony; Music theory; Prokofiev; Russian music; Soviet music

Issue Date: June 2014

Abstract: This dissertation examines aspects of harmonic function in the music of Sergei Prokofiev. Chapter 1 provides a survey of music theory literature on Prokofiev's music--including many Russian studies--and discusses the theoretical underpinnings of my analytical approach. Chapter 2 deals with Prokofiev's uses of symmetry and inversion in tonal plans and harmonic progressions, emphasizing the importance of perfect-fifth-related harmonic alternatives and long series of perfect fifths in works in what Prokofiev called his "classical line." The central topic of Chapter 3 is sequential harmony. This subdivides into discussions of Prokofiev's characteristic use of brief linking chords that clearly express dominant function; long, structural, but "obscure" dominants; plagal sequential trajectories in which a written-out ritardando seems to compensate for the lack of a culminating D-T relation; and directional changes ("volte-faces") signalling the end of sequential passages. Chapter 4 considers questions of harmonic function in light of ladovaia peremennost' (modal variability) and tonal pairing, which for Prokofiev is typically major-third-based; the discussion extends to a variety of harmonic techniques involving reinterpretation, substitution, or redirection by major third. In Chapter 5, the focus shifts to the semitone. Investigating the harmonic-functional implications of events commonly referred to as chromatic displacements, I suggest that the concept of chromatic substitution is often of limited value and explore some of the ways in which harmonic-functional balance and tonal closure arise in spite of (or in some sense due to) these events. Chapter 6 offers a conclusion and suggestions for future research, emphasizing the value of studying Prokofiev's harmonic practice in relation to nineteenth-century precedents (rather than to the Classical style), highlighting some of the harmonic techniques and tonal strategies that cut across the conventional boundaries of Prokofiev's About and oeuvre, and re-evaluating the ways in which certain traditional tonal principles are relevant even to Prokofiev's idiosyncratic "modern line."