Sounding

Studio per un pezzo suonato, con errori e orrori compresi

Bella scrittura, brutta copia

crebus flies again (sketch)

聲音像碼頭的迴音，節奏不推進，是聲音在發呆

Gentle Dock

拍子像被錯誤還原的 .bak 檔，跳拍跳情緒

good enntth

Video: https://youtu.be/AfVQB4Bo_v8
First, a confession.
I don’t play Etude No.1 as fast as Mr. Glass indicated in his score. The honest truth? It’s a little too fast for me—and for Mme Bechstein, as I call my piano. But perhaps that’s part of the charm of this version: it’s a bit slower, more grounded. And in that space, something opens up. The dynamic expression has room to breathe. The tempo becomes a gently rising tide, like waking up slowly, aligning fingers, mind, and breath into harmony.

Admittedly, this is a rather personal interpretation. I’m not entirely sure Mr. Glass would give it his blessing. But then again, it is an etude—and I find this piece simply wonderful.

Over the past weeks, it has become something of a quiet companion in the early hours of the day. I’ve worked from the published score, gradually sketching my own notation to help understand how the sections interlock, how the pulse shifts and evolves. This slow discovery revealed a surprising depth—a kind of secret logic running beneath the surface.

There’s something endlessly captivating about Glass’s harmonic language. It’s modern, never cloying, and crafted with quiet intelligence. His use of subtle shifts—almost imperceptible at first—creates patterns that, through repetition, become almost meditative.

This recording isn’t about perfection or polish and not meant to compete with the many beautiful renditions already out there, performed on the most luxurious grand pianos. It’s my personal take—played honestly, on my own instrument, at my own pace. A moment captured in sound, without the pressure to impress.

If you’re a pianist—especially one still finding their way, as I am—I warmly encourage you to spend time with this piece. It has a way of revealing itself slowly, like light unfolding across a morning room. And perhaps, in its simplicity, you’ll find something of yourself reflected there.

I’d love to hear how this piece resonates with you. Leave a comment if you’d like to share your thoughts or your own experience with Glass’s music.

Yours truly,
Sebastian Morawietz

>> Video <<

Studio Diaries: Glass Etude No.1 – My Morning Ritual

Opus 001

Musical rationalisations to accompany "The complete musician" (Laitz, 2003)
tonal harmonies yaaay

ACidContrapunctus 1 (in Emaj)

piano_etude

Two voice counterpoint study in d# major/minor modal madness (:

AcidContrapunctus 2 (d# modal soup)

*Stereo reduction

‘Steel Wool’ is a 2 minute 3 second etude-based point-source Electroacoustic piece composed for 5.1 surround sound orientation. The compositional choices and form were instigated by a ‘scaffolding’ of speech to be replaced with sounds manipulated to share similar parametric qualities and changes. 

The primary sound sources featured are field recordings of a groaning metal seesaw, a wooden bench, jangling keys, an indoor fountain, a toy gong, and a Roland Juno-106. ‘Steel Wool’ was processed and mixed entirely in Logic Pro, using a range of plugins, namely a noise-gate, reverb, echo, compression, distortion and pitch, EQ and volume automation to enrich the timbre and spatial depth enabled by five channel composition, while allowing for an accurate reinterpretation of speech parameters. 

The piece constitutes four movements: groan, tumble, rest, and groan II, each containing their own iterations of different parameters of speech.

steel wool

Die with a Smile - Percussion Arrangement

Commissioned by Ben Verdery for the Yale School of Music guitar studio admissions 2025. Premiered in concert by Brandon Wong on April 26, 2025. Performance by guitarist Emmett Edwards. Recording and edits by Kacper Madejek.

This corollary etude follows from my earlier virtuosic set Shred (2024) for classical guitar and violoncello, inspired by my exploration of parametric approaches to frequency and duration in twentieth-century Hungarian music. Just like its predecessor, Shred of Shred draws upon the intensity, complexity, and showmanship of iconic electric guitarists, channeling that energy into the acoustic medium. This work is an amalgamation, a gauntlet, designed to be harnessed and shaped anew by the guitar virtuosos interviewing at the Yale School of Music.

Shred of Shred

2_демo_smth_60_ep

1_демо_sedatiiv_ep

3_демо_вайб_ep

I am a pianist and composer writing music for vocalists searching for a song, game- and film music. I compose pieces in all genres from  jazz, latin, fusion, prog-rock, electronic to classical and more. All my uploads are original compositions - written, performed & recorded by myself in my very basic home studio setup based on Studio One software and a Yamaha workstation.

All fucked up for CC, if you want that you got that.

Assortment of Electroacoustic works and other demoes

Alien pirate producer in NE Italy.
Will it be dnb? electro? psy? tribe?
You don't know cause I still don't know.
Psychedelia and bubbly basslines.
Musical realism.


Currenrly switching to electronic; watch me learn; dm me to give me and/or receive production advice;) 

Still not sure about the whole TOS/algorithm situation, 
i'll let you know when my tracks have improved enough to be at risk!
as of now still feeding it bad music (:

freemusic4freepeople!

Artist pro as a learning exercise:
let's see if we can produce enough quality tracks to remake 83,88eur until next summer (:
although previously free features behind a paywall, not cool!

music and keyboards, computer graphic&programming
and some noise...  work on Ableton LIVE, Synapse DUNE and Lennar Digital Sylenth and more Q

i work with: 
Nikelodeon Opera
laquerciaJR. 
MBStudio91©
Madreterra
VersoSud

Magilla 
Trapparappa

make music make noise make happiness

Multi-instrumentalist, composer/arranger, educator, content creator. Berklee College of Music B.M. in CWP. Endorsed by Vic Firth and Zildjian.

weird you can't wear
new tracks by 5 Rocket World artists winkYface, AGLA, Clouds for Sale, and Banana Bones

all albums are free on bandcamp 
(https://fiverocketworld.bandcamp.com/)
donations are very appreciated

music can be anything
genre isnt real

reach out:  fiverocket.world@gmail.com for whatever reason.

Composer and scholar of new acoustic and electronic music at the Yale School of Music

Multi instrumentalist on Maui lifetime dedicated to the creative force of music in multiple genres: jazz, classical, ambient, avant-garde, fusion, rock, and beyond. Brought up in artist family in Colorado, piano doodling from early age, who picked up guitar at 16. Influenced greatly by pianist uncle David Van Vliet, stepdad drummer Richard Van Vliet, Lyle Mays, Pat Metheny, Herbie Hancock, Keith Jarrett, Donald Fagan, Joe Zawinul, McCoy Tyner, The Beatles, and Beethoven. 

http://facebook.com/TimmyMusic 
multi-instrumentalist Timmy Hogan

Channel artwork by stepfather Richard Van Vliet by permission.

Hello, I’m a composer based in Berlin, working at the intersection of classical, minimalism, and electronic music.

Thank you for listening and for adding my music to your playlists.

♡ Sebastian

If you’d like to get in touch, feel free to say hello here or through any of the social links below.

New tracks tagged #etude