NAKED TEENAGE GIRLS by GARY LLOYD NOLAND performed by the PIMPLETON PROCRASTURBATION ENSEMBLE. For more information on the composer, please visit his website at: https://composergarynoland.godaddysites.com/

NAKED TEENAGE GIRLS performed by the PIMPLETON PROCRASTURBATION ENSEMBLE

Improvisaciones, Vol. 8: Luminiscencia agonizante

Here's an improvisation performed in Cubase Pro 13 on Modartt's Pianoteq placed in a virtual space.

Improvisation Pianoteq Steinway (Syndicate Mix)

Improvised piano music. Classical base with a touch of Jazz and contemporary piano. 
No editing or overdubbing. 
Comments and suggestions or just an encouraging word are much appreciated. 

Thanks you for listening!

Impro489

﻿Improvised piano music. classical base with a touch of Jazz and contemporary piano.
No editing or overdubbing.
Comments and suggestions or just an encouraging word are much appreciated.
Thank you for listening!

impro515

﻿Improvised piano music. classical base with a touch of Jazz and contemporary piano.
No editing or overdubbing. 
Please use a good pair of headphones in order to fully appreciate the
recordings.
Comments and suggestions or just an encouraging word are much appreciated.
All cover pictures are by my dear wife Michela Pizzol Giacomini.
Thank you for listening!
Who will win the eternal battle between Dionysus and Apollo?

Tags for indexing: Improvised piano music, Jazz improvisations, contemporary piano, ﻿improvised piano, classical improvisations, piano impros, crossover piano, Fantasia, Impromptu, Preludio, Prelude, Capriccio, Ad-libbing, Spontaneity, Extemporization, Unrehearsed performance, Jam session, Freestyling, instant composition, Cadenzas, Real-time composition, in the moment,

impro531

Voices Of The Sea Ft. Marie Schreer

This is an improvisation, in a Classical music style, at an upright piano.  6 mics were used to capture the sound--a matched pair of Josephson C42's, a pair of vintage, Neumann U87's in Blumlein, and Neumann M7 and M9 capsules/contraption microphones!  The recording was made 10-22-2011.  This is take 1!  There are no cut-edits, no autotune, no click track, no EQ, and no compression!  Enjoy!

Autumn's Fury

Improvisation in the style of Gershwin

This is the luckiest one-take I had in a while...

Klavier Improvisation No. 1

The Sound Of Merlin is about sharing the passion for music and sound. About sharing knowledge and experience. The sheer fun of making music together. The magic of it all.

PLEASE VISIT MY OTHER ACCOUNTS FOR MORE OF MY MUSIC :)
https://soundcloud.com/morganpianist
https://soundcloud.com/morganpianist2
https://soundcloud.com/morganpianist4
I'm a pianist of classical music and so do an academic music composer, from the state of Yucatan, Mexico. I studied at the university of arts in «Escuela Superior de Artes de Yucatán (ESAY)», in the bachelor's degree of Musical Art as a pianist, in the city of Merida, the state capital.

Resides in Portland, Oregon. Grew up in Berkeley, CA. Born in Seattle.  PhD, Harvard. “Gary Noland is one of the great composers of the 21st century.”—JACK RUMMEL, KGNU 88.5 FM, Boulder CO, “...iconoclastic, stylistic potpourri standards of giddy humor, no holds barred soup to nuts and high spirits.”—ROBERT LEVIN, pianist, musicologist, composer, "...a fleet-fingered, ebullient performer ... bright, witty and engaging.”—CHRISTIAN CAREY, SPLENDID MAGAZINE, “...distinctive, inventive ... subversive ... You can hardly be indifferent to Noland’s music and so I would urge you to try it.” —ROGER BLACKBURN, MUSICWEB INTERNATIONAL, “...set in a dizzying harmonic language that loops uncontrollably through a wide-ranging gamut of possible and impossible tonalities ... The general effect is like watching wet paintings of 19th Century musical memorabilia drip into frazzled 21st Century oblivion...” —ALLEN GIMBEL, AMERICAN RECORD GUIDE, “Mr. Noland writes as a ‘time traveler’ in styles long abandoned by most composers as well as styles so new as to not have been imagined but by him. This he accomplishes naturally, convincingly, with originality and true passion. His command of all musical languages and his ability to traverse musical time is nothing less than remarkable. Listen!”—DONALD MARTINO, Pulitzer Prize winning composer, “...mind-bending spiraling of focus which is truly breathtaking ... spectacular...”—CHARLES AMIRKHANIAN, composer, sound poet & radio producer, “I'm amazed at your harmonic skill. Haven't seen or heard anything like it from any one else—except yours truly—certainly not from your generation. It falls somewhere between Strauss and Mahler. Especially like how you are able to slip in and out from the tonal to the atonal—or near atonal...”—GEORGE ROCHBERG, American composer, Pulitzer Prize finalist, “...court jester to the classical establishment...”—PAYTON MACDONALD, AMERICAN RECORD GUIDE, “...florid and juicy...” —RICHARD BUELL, THE BOSTON GLOBE, “...an incredible aural web ... a great ostinato of American kitsch. Sul pont never sounded so good.”—RUSSELL STEINBERG, composer, conductor of the LOS ANGELES YOUTH ORCHESTRA, “...I am bowled over by the expertise of your music: you use certain elements from the 19th century and from jazz, etc., and just at the moment when I am about to say, OK, what else is new?, you do a number of things, such as speeding up, becoming wildly dissonant, modulating to a distant continent, stopping completely and throwing some kind of total surprise ... you seem to know exactly when to do what and how much. I don’t know anybody else who can do it!” —ANDREW IMBRIE, American composer, Pulitzer Prize finalist, “... remarkable stuff...”
—MAX MORATH, American ragtime pianist, composer, actor & author, “...a loony composer from Oregon...” —MAX SHEA, WMUA 91.1FM, Amherst, MA, “Gary Noland is one of those 21st Century composers seeking to forge a new aesthetic based on older models that do not traffic in serialism or minimalism ... Zany waltzes, ragtime riffs, chorales, toccatas, and much else romp and tear through these depictions of superheroes and villains from his ‘chamber novels’; other pieces spoof serial music ... to grand operas ... and Jewish guilt.” —JACK SULLIVAN, AMERICAN RECORD GUIDE, “...Paranoid Ravel...”—ALEX DUNN, KZSU FM90.3, Stanford, CA, “...It’s a romantic romp, rhythmically robust yet melodically flirting with the nostalgia of cabaret, minus the sleazy diminution of spilled drinks and smelly ashtrays. Its elegance recalls Elgar, and the serious sides, a synthesis of those strange bedfellows Schubert and Ives. Composers hate it when their music reminds you of someone else’s, but writing within a tradition, Noland has incorporated divergent styles that, woven together, work. Cosmopolitan without snobbery, it’s intelligent, pleasurable and convincing.” —ROCKY LEPLIN, THE BERKELEY VOICE

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