Gonzales Piano Solo PDF 55: Discover the Beauty and Drama of Solo Piano II by Chilly Gonzales

I was really taken by David's style, watched all of his clips and reached out to complement him and see if he might want to work on a piano arrangement. What followed was a long and fruitful collaboration - an open invitation for David to explore my catalogue and tackle what he liked, and a whole lot of back and forth as we refined and honed in on an eclectic set of piano arrangements.

David Peacock, on the ArrangementTranslating this one was a challenge. Finding a way to interpret arpeggiated synth chords into something one person can play on piano was a great exercise in creatively approaching the material.

gonzales piano solo pdf 55

Download Zip

Rich Vreeland, on the CompositionI originally came up with this melody on my Aunt's upright piano during a Christmas break. Then I recreated it with basic chord accompaniment using the keys on my laptop, while on a bus, headed from Boston to Hartford. I definitely tried to tap into the 80s horror mystique a little with the arrangement. Subsequently, this piece was used in the temp score for It Follows and ultimately became a big inspiration for that score.

Rich Vreeland, on the CompositionPart of a split electronic EP called West, this piece started with a Spaghetti-Western inspired guitar lick, which became the central motif of the song. Hearing it translated to piano was a bit odd at first, but I think it projects a fresh perspective on a similar idea.

Augustine Gonzales, on the PerformanceThe opening was quite a challenge because it was originally written for an improvised guitar. It was not about trying to recreate the sound of the original instrumentation, but to make it sound like it was meant to be written for solo piano.

David Peacock, on the ArrangementThis arrangement goes between sparse sections and brief moments of motion. I wanted some sections to really mimic the original with the long pads; allowing the piano strings to reverberate a bit. There is a shorter 15-second version of this floating around social media from before this project existed.

Rich Vreeland, on the CompositionThis song was written using a single synth sound, so it proved to be a nice piece for translation to the piano. Because the game FEZ leans heavily on its night cycle, this piece features two distinct sections. During the day, critters scurry here and there, going about their business. But come nightfall, they come out to dance. The first section is a bunch of overdubbed improvisations, a tempo.

David Peacock, on the ArrangementThis arrangement came about because I was playing Hyper Light Drifter and could not get past the West boss. I nearly ruined my controller in frustration, so I decided pause the game and channel that energy into playing the boss' theme on piano. I did eventually beat him.

Rich Vreeland, on the CompositionI came up with a sequence of ideas at the piano and recorded them in a somewhat lo-fi manner, with a field recorder. The general structure and ideas were there, but the specifics were always a bit blurry, and that allowed me to tinker with the form and the details of the performance over the course of a 10 - 15-minute jam. Afterward, I edited this down into a more listenable form, a six-minute track and the closer for Hyper Light Drifter.

The list below includes all pages in the category "For viola". This includes works originally scored for solo viola. See also For viola (arr), Scores featuring the viola, For violin, For viola da gamba.

Includes unlimited streaming via the free Bandcamp app, plus high-quality downloads of Feel Like April, Piano Meditations, Fragments of Autumn Melancholy, Innocence, and midnight solitude. , and , . Purchasable with gift card Buy Digital Discography $39.75 USD or more (25% OFF) Send as Gift Share / Embed 1. I Feel 01:05 buy track 2. Spring 01:55 buy track 3. In Bloom 03:01 buy track 4. River Song 02:46 buy track 5. Romantic 05:52 buy track 6. Still Silence 03:07 buy track 7. Our Song 02:51 buy track 8. Spiral 02:24 buy track 9. Natural 03:16 buy track 10. Feel Like April 03:40 buy track about This is a digital-only piano solo album by Wataru Sato,which was released on 27th May,2020.These tracks were made and recorded in April,during First Lock Down in Japan.We have experienced the same chaos at the same time all over the world and we never have a word to express the situation and the feelings.I named the experiences "Feel Like April." $(".tralbum-about").last().bcTruncate(TruncateProfile.get("tralbum_about"), "more", "less"); credits released May 27, 2020 license all rights reserved tags Tags classical alternative ambient instrumental modern classical neoclassical piano postclassical Japan Shopping cart total USD Check out about Wataru Sato Japan

During scanning, subjects used a custom-built non-ferromagnetic piano keyboard (MagDesign, Redwood, CA) with thirty-five full-size plastic piano keys. The keyboard had Musical Instrument Digital Interface (MIDI) output, which was sent to a Macintosh Macbook Pro laptop computer running the Logic Pro 9 sequencing environment (Apple Inc., Cupertino, CA). The MIDI input triggered high-quality piano samples using the Logic EXS24 sampler plug-in. Piano sound output was routed back to the subject via in-ear electrostatic earspeakers (Stax, Saitama, Japan). In the scanner the piano keyboard was placed on the subject's lap in supine position, while their knees were elevated with a bolster. A double mirror placed above the subject's eyes allowed visualization and proper orientation of the keys during performance. Subjects were instructed to use only their right hand during scanning and were monitored visually to ensure that they did not move their head, trunk, or other extremities during performance. The subjects lay supine in the scanner without mechanical restraint. In addition to the electrostatic earspeakers, subjects wore additional ear protection to minimize background scanner noise. Ear speaker volume was set to a comfortable listening level that could be easily heard over the background scanner noise. A parallel signal path was used for the keyboard outside the scanner, which was an Oxygen USB MIDI controller (M-Audio, Los Angeles, CA) that was programmed to trigger an electric piano sample from Logic, so that each musician was represented by a distinct musical sound. The non-scanner subject (Subject B) was able to hear Subject A via an M-Audio Studiophile AV40 free-field monitor. See Figure S1 for a diagram of the experimental equipment setup.

We applied signal processing methods to analyze the MIDI piano output obtained during fMRI scanning. The purpose of this analysis was to quantitatively evaluate the musical interaction between Subject A and Subject B. Several measures from the MIDI Toolbox [18] were used to classify and compare the four conditions and the phrases traded between A subjects and B subjects, including, note density, pitch class distribution, pitch class transitions, duration distribution, duration transitions, interval distribution, interval transitions, melodic complexity, and self-organizing maps of key. 2ff7e9595c