Abstract
Throughout his career, Charles Ives wrote dozens of small pieces in which he experimented with new or unusual musical procedures: polytonality, whole tones and quarter tones, atonal canons, non-tertian chords, palindromes, twelve-note melodies, and so on. Ives seems to have conceived of these pieces as private compositional studies. Very few of them were performed in public until long after they were written. Many are for organ or piano, his own instruments; many others written before 1902 are for choir, and may have been tried out by the choirs in the churches where he served as organist; several later ones are scored for small instrumental ensembles and may have been played through in private reading sessions. John Rinehart has shown that these pieces often served as workshops in which Ives first experimented with methods that he later used in larger, more ambitious compositions.2
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