This music was composed in 2013 as part of a series of commissioned music to the documentary AMÉRIKOLOGIE. However, this music was not in the show broadcasted by TV5 channel. After a while, in order to compose my personal catalog, I invited some friends to record it. I then called it Melodic Study in the form of chôro, which is a fancy name a give for all my music that has not yet become a song. Hope you enjoy it

For further information on my work, visit www.pbottas.com

Estudo Melódico em forma de Choro (Paulo Bottas)

This music was composed in 2013 as part of a series of commissioned music to the documentary AMÉRIKOLOGIE. However, it was not in the show broadcasted by TV5 channel. After a while, in order to compose my personal catalog, I invited some friends to record it. I then called it Melodic Study in the form of samba de partido alto, which is a fancy name a give for all my music that has not yet become a song. Hope you enjoy it!


Estudo melódico em forma de samba de partido alto

Estudo Melódico em forma de samba de Partido Alto (Paulo Bottas)

Music that I composed three years ago. This piece was composed under Bach’s guidelines merged with some cuban rhythm.
Even if the music does not have the baroque sound, the harmony and the underlying bass melody were inspired by the German master. This piece was composed having the melody as the main guide, on which I applied the harmonization I’ve been looking for as my personal musical signature mixed with some cuban rhythmic flavor. I've personally recorded this prelude, highlighting the beautiful inner melodies that appear here and there. All comments are welcome and I hope you like it.

For further information on my work, visit www.pbottas.com

Camarada Juanito

Camarada Juanito - for piano solo (Paulo Bottas)

This music was composed in 2013 as part of a series of commissioned music to the documentary AMÉRIKOLOGIE. However, this music was not in the show broadcasted by TV5 channel. After a while, in order to compose my personal catalog, I invited some friends to record it. I then called it Melodic Study in the form of samba enredo, which is a fancy name a give for all my music that has not yet become a song. Hope you enjoy it

For further information on my work, visit www.pbottas.com

Estudo melódico em forma de samba em redo (Paulo Bottas)

This arrangement is the first of a series of arrangements for solo piano that I wrote in 2008 on the songs that were part of the musical Orfeu da Conceição and the film Black Orpheus. Here I intend to present the sonority that I sought to develop using several techniques such as harmonies exchanges, new rhythmic design, inner melodies with counterpoint function. When composing the arrangement of this song, I wanted to keep the melody almost intact, respecting the central idea of the composer. Since the purpose of this video is to present only the arrangement, I removed improvised solos to keep the cohesion. All comments are welcome

For further information on my work, visit www.pbottas.com

Manhã de Carnaval - piano solo (arr. Paulo Bottas)

Yemoja, in Yoruba language, is the name of the goddess of the oceans. I wrote this music in 2013 after returning from the coast of Brazil. In late 2012, I traveled there with my wife for a season of a month. On this occasion, I was hosted in Buzios, charming city in the cost of Rio de Janeiro State. During the day, I spent my time in the beach and in the late afternoon, from the top of her family house, I kept looking at the enchanting landscape of the bay in front of me. Soon after, we travel to the most beautiful beach I've ever seen in my life, Boipeba, Bahia state's coast. Its deserted beaches, kilometers of deserted white sand , giving more beauty to the Atlantic sea, were really idyllic. Coming back to the winter of Canada, in January 2013, I wrote this piece for solo piano, emulating the waves sent by Yemoja. I wanted to reconstruct the movement of the waves by the melodic line, however, sought a resonant harmony, creating an indefinite resolution effect. At one point, the internal melodies overlaps the main voice, as if a wave rode over the other. The mode change gives drama to the music, warning that the sea water is uncertain and treacherous. In the end, after an ascending and descending scale, the wave explodes on the sand beach and retracts again to the sea.

For further information on my work, visit www.pbottas.com

Yemoja

Yemoja - for solo piano (Paulo Bottas)

This music was composed by Damian Birbrier. Creative saxophonist and talented composer, Damian composed this music after making a harmonic analysis of one of Schubert’s music (unfortunately, I do not remember which music it is). I remember he came to me with the newly written melody, accompanied by his harmonic analysis. He then played the melody on the saxophone and we wrote together the chords over the melody line. Excited with his new creation, he called it Berceuse pour la fin du monde (Lullaby for the end of the world) because in those days there was a prophecy that said it would be the last night of the world. This tender melody contrasted with the image of a terrible apocalypse. That same night, under the excitement of the novelty, I wrote this arrangement for piano. Composed in A major, the first part belongs to the main tone. In the second part, there is a rapid modulation which causes a feeling of abandonment of the tonality, but quickly returns to its main tonic. I invite you to take a look at the Damian's Channel https://www.youtube.com/channel/UCM-3....

For further information on my work, visit www.pbottas.com

Berceuse pour la fin du monde (arr. Paulo Bottas)

This is the first movement of my quartet Frida Kahlo, dedicated to the Mexican painter. This quartet was for me a laboratory of experiments, where I tried to forge my own sonority.  My string quartet is totally influenced by Beethoven's String Quartet No.1, Op.16. I did an analysis of the entire quartet, bar by bar, and when I tackled the task of composing my own quartet, I kept looking at Beethoven's. I learned a lot from him. Inevitably, my music has its own sonority, because I am not Beethoven, but I must refer to him, as you refer to something that came before. Above all I must revere him, because he is one of the great composers of the world. In the special case of the Frida Kahlo quartet, Beethoven is a primary source. I use to tell my friends that my quartet is a quotation of his quartet. The Frida Kahlo quartet is what remained of Beethoven in me.

Quatuor Frida Kahlo

Frida Khalo - Allegro con moto (Paulo Bottas)

This is the second movement of my quartet Frida Kahlo, dedicated to the Mexican painter. This quartet was for me a laboratory of experiments, where I tried to forge my own sonority. My string quartet is totally influenced by Beethoven's String Quartet No.1, Op.16. I did an analysis of the entire quartet, bar by bar, and when I tackled the task of composing my own quartet, I kept looking at Beethoven's. I learned a lot from him. Inevitably, my music has its own sonority, because I am not Beethoven, but I must refer to him, as you refer to something that came before. Above all I must revere him, because he is one of the great composers of the world. In the special case of the Frida Kahlo quartet, Beethoven is a primary source. I use to tell my friends that my quartet is a quotation of his quartet. The Frida Kahlo quartet is what remained of Beethoven in me. The second movement, Adagio spaventoso, portrays the tragic event sufered by Frida Kahlo and its consequences. The physical pain, the psychological suffering that affects the morale of someone who is prostrated in bed, the fear of death. 

For further information on my work, visit www.pbottas.com

Frida Kahlo - Adagio spaventoso (Paulo Bottas)

This is the third movement of my quartet Frida Kahlo, dedicated to the Mexican painter. The third movement, SCHERZO Allegro a mo’ di valzer, is a musical portrait of this great woman, who in spite of her broken body, searches in the lightness of a waltz the movement capable of reanimating her. A limping movement, a dance with legs that are limping, but strong enough to move her. This quartet was for me a laboratory of experiments, where I tried to forge my own sonority.  My string quartet is totally influenced by Beethoven's String Quartet No.1, Op.16. I did an analysis of the entire quartet, bar by bar, and when I tackled the task of composing my own quartet, I kept looking at Beethoven's. I learned a lot from him. Inevitably, my music has its own sonority, because I am not Beethoven, but I must refer to him, as you refer to something that came before. Above all I must revere him, because he is one of the great composers of the world. In the special case of the Frida Kahlo quartet, Beethoven is a primary source. I use to tell my friends that my quartet is a quotation of his quartet. The Frida Kahlo quartet is what remained of Beethoven in me. 
For further information on my work, visit www.pbottas.com

Frida Kahlo String Quartet

Frida Khalo - SCHERZO : Allegro a mo' di valzer (Paulo Bottas)

This arrangement is the second of a series of arrangements for solo piano that I wrote in 2008 on the songs that were part of the musical Orfeu da Conceição and the film Black Orpheus. Here I intend to present the sonority that I sought to develop using several techniques such as harmonies exchanges, new rhythmic design, inner melodies with counterpoint function. When composing the arrangement of this song, I wanted to keep the melody almost intact, respecting the central idea of the composer. Since the purpose of this video is to present only the arrangement, I removed improvised solos to keep the cohesion. All comments are welcome


For further information on my work, visit www.pbottas.com

Mixed and Mastered by Javier Canseco at Berkshire Audio in Vancouver, BC, Canada. 
More information → on.fb.me/1mhryAn.

Se todos fossem iguais a voce (arr. Paulo Bottas)

This arrangement is the third of a series of arrangements for solo piano that I wrote in 2008 on the songs that were part of the musical Orfeu da Conceição and the film Black Orpheus. Here I intend to present the sonority that I sought to develop using several techniques such as harmonies exchanges, new rhythmic design, inner melodies with counterpoint function. When composing the arrangement of this song, I wanted to keep the melody almost intact, respecting the central idea of the composer. Since the purpose of this video is to present only the arrangement, I removed improvised solos to keep the cohesion. All comments are welcome


For further information on my work, visit www.pbottas.com

Mixed and Mastered by Javier Canseco at Berkshire Audio in Vancouver, BC, Canada. 
More information → on.fb.me/1mhryAn.

A Felicidade : Piano Arrangement (arr. Paulo Bottas)

Born in Brazil and settled in Canada since my early twenties, I'm a musician with a background in both classical and popular music. My path allowed me to be in contact with varied genres, from baroque to contemporary music. With formal academic musical training and a Master's Degree in musicology, I have been in contact with several musicians and artists, resulting in a multifaceted artistic development. These contacts have given a deeper meaning to my artistic and music profile, which is expressed through original compositions.

Paulo Bottas - composer

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