3148 Tracks Found
In The Heartland
LATCHAW, Dave (1962-), American / Classical Crossover,		Dave Latchaw This improvisation reminds me that I can enjoy being in different places in the world and try to be some kind of heavy musician, but I am a guy from Indiana and that is as much a part of me as anything.
Hymn of Hope
LATCHAW, Dave (1962-), American / Classical Crossover,		Dave Latchaw I think of it as a peaceful type of composition, effective in helping me decompress at the end of the day. I contemplate the activities of the day and how to approach upcoming challenges.
Fragile Peace
LATCHAW, Dave (1962-), American / Classical Crossover,		Dave Latchaw The harmonies moving beneath the melodies create just enough tension that the tranquil nature of the melody seems to be pushing the edge of the Fragile Peace.
Dissonant Dream
LATCHAW, Dave (1962-), American / Classical Crossover,		Dave Latchaw To me this piece has a dream-like quality. The way the melody and harmony work together I would say it might be a bad dream, but not an all-out nightmare!
Gentle Moments
LATCHAW, Dave (1962-), American / Classical Crossover,		Dave Latchaw I enjoy the quiet nature of this improvisation. It reminds me of the times when everything is going okay and how cool that is. Then you have the sensation that this is probably just passing, which is expressed by the melancholy moments in the piece.
No Escape
LATCHAW, Dave (1962-), American / Classical Crossover,		Dave Latchaw This piece reminds me of a sound track for a person who has just had enough of dealing with the daily grind.
Simple Pleasures
LATCHAW, Dave (1962-), American / Classical Crossover,		Dave Latchaw This improvisation is mainly the use of a single lead voice with counterpoint and the occasional use of chords. For me it captures the pleasure of improvising and using simple ideas to improvise around.
Scattered
LATCHAW, Dave (1962-), American / Classical Crossover,		Dave Latchaw This spontaneous composition can be related to by anyone who has had too many things going on all at once.
Good Intentions
LATCHAW, Dave (1962-), American / Classical Crossover,		Dave Latchaw This improvisation reminds me of someone who is trying to do a good deed or a selfless act of some sort and the situation blows up in their face. Very confusing for the doer of the good deed. What have they done to have such bad karma?
Homeward Bound
LATCHAW, Dave (1962-), American / Classical Crossover,		Dave Latchaw This piece evokes memories of the times I have been out of the country for a length of time, and then travel back. It starts out melancholy and then moves into a more uplifting feel, while keeping a bit of twang.
Twisted Simple Blues
LATCHAW, Dave (1962-), American / Classical Crossover,		Dave Latchaw I believe both Monk and Corea must have been going on in my head at the same time.
Psycho Swing
LATCHAW, Dave (1962-), American / Classical Crossover,		Dave Latchaw I enjoy this improvisation because it leans toward the "out" side of jazz. I feel that it comes from studying more Thelonious Monk and trying to explore that direction. I have been told it would make an interesting big band piece. Maybe I will arrange it someday.
Grandmas Farm
LATCHAW, Dave (1962-), American / Classical Crossover,		Dave Latchaw Fond childhood memories of what a great hang it was being with my Grandma at her farm. I like the way the piece has a bit of twang and subtle time changes.
Here and There
LATCHAW, Dave (1962-), American / Classical Crossover,		Dave Latchaw I enjoy this tune because of the way the harmony moves between the sections. It has the spontaneous feel of a conversation.
PhLucK
Justin Jason - Ohio, U.S. / Electronic Experimental,		soundpharm Fluid, symphonic, organic sounds that flow through you.
Reflections
LATCHAW, Dave (1962-), American / Classical Crossover,		Dave Latchaw This is the composition that made me decide to do a solo piano CD. It started out as a piano improvisation. After a few weeks of coming back to the same melody and harmony, I decided to write it out so I could play it with the groups I perform with.
Fanie (MaryII)
Jean Marais / World Multinational,		DUUSMAN Arikaans alternative rock
Alot Of Growin Up
West, Kevin 1983; African-American / Hip Hop,		Xabiton
Rhyme Slayer
West, Kevin 1983; African-American / Hip Hop,		Xabiton
Childbed depression
/ Classical Contemporary,		Eftos Experimental regarding structure. Non-repetitive regarding composition & instrumentalisation. Complex, as constant changing. A shower, ice-cold boiling.
So Easy
Jeff Byrd, Scott Byrd, Roger Oullette / Rock,		sonnet
Save
Jon Axtell / World Pre-Historic,		Jonnie Axtell
Moon has Golden Horns
TRADITIONAL / World Folk,		Istoki-folk
No More Blues
Allsup,Greg 1952 USA / Blues Rock,		Crazy bout the Place
Estas Hablando
The Kernel / Alternative Ska,		The Kernel
ZERO
Jacho Lederkremer / Electronic,		Mostrance
High Steppin' Boogie & assorted others
/ Blues Electric,		Joe Gajan - GEAK Blues Trio Iuma page with assorted tracks.
Torch me the iron basketball
The Kernel / Alternative Punk,		The Kernel
Around the Bend
FALK, Kam (1963 - ) American / Jazz, Jazz Fusion		Kam Falk The title, Around the Bend, actually describes how this song begins with a smooth jazz feel, then takes a turn about halfway through and begins to build up steam to a fiery finish.
Journeys End
FALK, Kam (1963 - ) American / Jazz Slow Swing, Jazz General Jazz		Kam Falk A three-part piano feature with an earthy, percussion-filled odd meter intro featuring a six-string bass solo by Kam Falk. Part two features Delmar Brown on piano playing in 6/4 time while Falk and guitarist Elliott Randall provide tonal colors on synths, bass and guitar. Part three is an epilogue - this song is dedicated to Louis W. and Pearl Falk.
One Summer
FALK, Kam (1963 - ) American / Nostalgic, EZ Reflective		Kam Falk A melodic piano and guitar duet featuring Kam Falk on piano and Daryll Dobson on steel-string acoustic guitar.
Shifting Sands
FALK, Kam (1963 - ) American / Jazz, Jazz Fusion		Kam Falk A two-part piece which begins with a funky groove that features some Middle Eastern modality in the melody. The second part is a piano solo with lush voicings, long phrases and strings complimenting the solo by Gary Mayone.
Bolivia
FALK, Kam (1963 - ) American / Jazz Latin,		Kam Falk A festive samba with a flute melody and piano solo which features a Tumbao, or syncopated bass line.
Katys Song
FALK, Kam (1963 - ) American / Jazz Smooth,		Kam Falk Daryll Dobson plays steel-string acoustic guitar melody while Kam Falk, Delmar Brown, and Gerry Brown provide bass/keyboards, keyboards/keyboard solo, and drums respectively.
BopStop
FALK, Kam (1963 - ) American / Jazz BeBop,		Kam Falk A piano and organ adventure with Delmar Brown on piano and Kam Falk playing organ. Gerry Brown goes to town on drums while Rick Doll provides the bottom on string bass.
Zone 5
FALK, Kam (1963 - ) American / Jazz Fusion,		Kam Falk A Hendrix inspired guitar track by Daryll Dobson is complimented by Kam Falk on piano/synths and six-string bass. Gerry Brown throws down on drums.
Vagina Superstar
Giacobazzi, Marco Italy / Rock 1990-1999,		Batteri Acrobatici
Welcome Home
FALK, Kam (1963 - ) American / Jazz Smooth,		Kam Falk Quintessential Elliott Randall styling with a memorable melody and lots of ensemble interaction.
Pursuit
FALK, Kam (1963 - ) American / Jazz Fusion,		Kam Falk A relentless jungle groove is accompanied by a backdrop of restlessness and confusion. Then, when the chase is over, a tranquil feeling takes shape in the form of a half-time reggae jam, with guitarist Drew Preston Kushner quoting from THE CLOSER I GET TO YOU.
INDIFFERENCE
Ganz,Robey (1968) Sicilian-American Indian / EZ-Easy Listening,		Robey Ganz Smooth Piano,French horns,Vibes
The Tide Has Turned Away
Pirard, Joel (1956- );Belgian-American, Pitz, Dona / Rock Classic,		JDA Soaring vocals, and great guitar throughout
For the Old Friends
Pirard, Joel (1955- );Belgian-American, Pitz, Don / Rock Ballad,		JDA Majestic, moving, emotional
Mountains
/ Electronic Ambient,		Thom Brennan from the CD "Mountains"
Vibrant Water
/ Electronic Ambient,		Thom Brennan
UNFORGIVEN
Ganz,Robey (1968),Sicilian-American Indian / EZ-Easy Listening,		Robey Ganz a smooth blend of guitar,pipe flute,and synth piano.
Raingarden
Brennan, Thom / Electronic Ambient,		Thom Brennan Impressions from the Olympic rainforests
Waterfront
Brennan, Thom / Electronic Ambient,		Thom Brennan From the album "Signals in Moonlight"
Take It All
Magic / R+B,		Unified Tribe Smooth Jazzy R&B Track
Tenn-A-seein
Richard G. Scott / Period,		Cybertron This is a progressive fusion of Bluegrass, New Age, and Electronic... almost as if Roy Clark, Jean Luc Ponte, and Keith Emerson threw a party.
Robotix
Scott, Richard G. / Electronic,		Cybertron Written for my good friend Roger Arrick, owner of Synthesizers.com & Arrick Robotics. [:30 second music spot]
Dust to Dust
Tyrell, Max / World Music - Folk,		Max Tyrell
the rootsman
Mattis, Leroy / World Reggae,		MABRAK a roots, rock, reggae cd from the masters of the jamaican roots reggae sound.
Ecstasy
Cakmakkaya, D / Electronic,		Ecstasy
Falling Down
Van Emmerloot (1971- future), Dutch / Alternative Power Pop,		Staring Sheep demo track first single of this band
Etude Op.10 No.4 in C#-
CHOPIN / Classical Period Romantic, Classical Piano		Kevin Hadsell One of the most exciting etudes, it features brutal passagework of single notes close together, with widespread open chords in the middle section. It is also an etude of endurance and velocity with no break from beginning to end.
Kronstudios -
/ Hip Hop,		Kronstudios
Bobs Weird
/ Lively, Comedy		Darren Zieger An odd song about a strange dude.
a
ANNA / Folk,		a
Deception in D-
BACH / Classical Electronic,		Jonathan vanAtom An electronic remix of Tocatta in Dminor
Big Slab of Cow
/ Jingles, Country		Darren Zieger Originally performed by the legendary Miami comedy troupe, Mental Floss, this song is a jingle for a very unique steak house.
Etude Op.10 No.3 in E
CHOPIN / Classical Period Romantic, Classical Piano		Kevin Hadsell An etude in ABA form, with the A section dealing with blaance and voicing between the hands, and with the B section dealing with widespread double notes.
Etude Op.25 No.6 in G#-
CHOPIN / Classical Period Romantic, Classical Piano		Kevin Hadsell Perhaps the most difficult study of thirds in all of piano repertoire.
Etude Op.25 No.11 in A-
CHOPIN / Classical Period Romantic, Classical Piano		Kevin Hadsell Also called the "Winter Wind" etude, this monster of an etude features a march-like left hand with a turbulent and very chromatic right hand accompaniment. Jose Iturbi remarks, "The Etude in A minor is about impossible. You can keep it up for a few pages, but for eight pages, who can *really* do that?"
Etude Nouvelle No.3 in Ab from Methode de Moscheles et Fetis
CHOPIN / Classical Period Romantic, Classical Piano		Kevin Hadsell A study in two-against-three rhythm, this is complicated by demands for voicing in right hand three-note chords. Balance is difficult to maintain with only single-note configurations for the left hand.
The Flight of the Dragon Riders
DVORAK / Symphonic Film, Electronic Game Soundtracks		Symphonic Chronicles Epic-sounding. Typical brass and stuff
Ready To Cry
/ Country General,		Phil Frazier
perception is reality
/ Alternative Experimental-Post Rock,		stellarscope the other members of stellarscope
Schizophrenic Waltz
/ Rock Classic,		Bacal intense passionate rockola
Katherines Room
/ Blues Rock,		Bacal bluesy rock ballad
Hibrido
/ Alternative Power Pop,		ACROBATA Get Up now! Pure alternative power pop, with distorsions and delays, mixing U2 with Pearl Jam.
from the time
/ Alternative Experimental-Post Rock,		stellarscope
hole in the soul
/ Alternative Experimental-Post Rock,		stellarscope
viaje sideral
/ Alternative Experimental-Post Rock,		stellarscope
spring
/ Alternative Experimental-Post Rock,		stellarscope
right here
/ Alternative Experimental-Post Rock,		stellarscope
namelessfuture
/ Alternative Experimental-Post Rock,		stellarscope
the test
/ Alternative Experimental-Post Rock,		stellarscope
tonight ( I see the light)
/ Alternative Experimental-Post Rock,		stellarscope
Waltz Op.18 in Eb
CHOPIN / Classical Period Romantic, Classical Piano		Kevin Hadsell One of Chopins greatest waltzes, this is a piece with strong rhythms and accents. It also features repeated notes as well as chromatic grace notes and melody, appearing in the middle section and coda. This is a grand waltz indeed, perhaps only to be outdone by Chopins second waltz in A-flat.
Study Op.740 No.4 in Bb
CZERNY / Classical Period Classical, Classical Piano		Kevin Hadsell "Light motion in quiet staccato"
Study Op.740 No.13 in Bb
CZERNY / Classical Electronic, Classical Period Romantic		Kevin Hadsell "The utmost velocity"
Study Op.740 No.14 in G-
CZERNY / Classical Electronic, Classical Piano		Kevin Hadsell "Chord passages"
Study Op.740 No.16 in C
CZERNY / Classical Period Romantic, Classical Piano		Kevin Hadsell "Changing the fingers in rapid playing"
Study Op.740 No.22 in B
CZERNY / Classical Experimental, Classical Period Romantic		Kevin Hadsell "Trill study"
Study Op.740 No.26 in A
CZERNY / Classical Experimental, Classical Piano		Kevin Hadsell "The utmost velocity in chord passages"
Study Op.740 No.31 in A-
CZERNY / Classical Electronic, Classical Experimental		Kevin Hadsell "Practice in the passing under of the thumb"
Study Op.740 No.35 in F
CZERNY / Classical Period Romantic, Classical Piano		Kevin Hadsell "Changing fingers on one and the same key"
Study Op.740 No.48 in Ab
CZERNY / Classical Piano, Lively		Kevin Hadsell "Trill exercise"
Study Op.740 No.50 in G-
CZERNY / Classical General, Dramatic		Kevin Hadsell "Bravura in touch and tempo"
Etude Op.10 No.2 in A-
CHOPIN / Classical General, Classical Period Romantic		Kevin Hadsell Chromatic scales for 3rd, 4th, and 5th fingers while rendering triads in the same hand.
Etude Op.10 No.5 in Gb
CHOPIN / Classical Period Romantic, Cartoon		Kevin Hadsell The "Black Key" etude is a study on the black keys involving rotary action and relaxed wrists with a chromatically melodic left hand.
Etude Op.10 No.6 in Eb-
CZERNY / Classical Period Romantic, Tragic		Kevin Hadsell A study in shaping a melodic and line so that it sustains a singing sound from one phrase to the next without sounding forced, all over a chromatic left hand.
Etude Op.10 No.7 in C
CHOPIN / Classical Electronic, Classical Piano		Kevin Hadsell A toccata-like study in double notes (sixths and thirds) requiring quick changing of fingers on the same key, combining both beauty and duty.
Etude Op.10 No.8 in F
CHOPIN / Classical Experimental, Classical Period Romantic		Kevin Hadsell A study in rapid and extended passagework requiring skillful and controlled placement of the thumb.
Etude Op.10 No.9 in F-
CHOPIN / Classical Electronic, Tragic		Kevin Hadsell A study in widespread arpeggiated patterns in the left hand, while maintaining a balance of voicing between the melodic right hand and the supporting left hand. This etude is one of the most accessible etudes, especially for early advanced students and those with big hands.
Etude Op.10 No.10 in Ab
CHOPIN / Classical Period Romantic, Classical Piano		Kevin Hadsell A study in alternating sixths in the right hand against wide arpeggiated leaps in the left hand, as well as a study in counter-rhythms that play tricks on the brain. Beware! Hans von Bulow said, "He who can play this study in a real finished manner may congratulate himself on having climbed to the highest point of the pianists Parnassus."
Etude Op.10 No.11 in Eb
CHOPIN / Classical Period Romantic, Classical Harp		Kevin Hadsell A study in extremely widespread rolled chords while maintaining a continuously-flowing melodic line, creating a harp-like effect.
Etude Op.10 No.12 in C-
CHOPIN / Classical Period Romantic, Classical Piano		Kevin Hadsell Also called the "Revolutionary," this etude is a study in left hand arpeggios as well as passagework, requiring great endurance in the left hand.
Etude Op.25 No.1 in Ab
CHOPIN / Classical Piano, Classical Harp		Kevin Hadsell Also known as the "Aeolian Harp" etude, this etude features a smooth, melodic voice in the top note, accompanied by arpeggiated patterns in both hands.
Etude Op.25 No.2 in F-
CHOPIN / Classical Electronic, Classical Piano		Kevin Hadsell A study in cross-rhythms and delicate finger articulation.
Etude Op.25 No.3 in F
/ Classical Experimental, Classical Period Romantic		Kevin Hadsell As I recorded this etude, constantly in the back of my mind was a galloping horse. Ogdon refers to this etude as "a study in the precise rhythmic values of ornaments."
Etude Op.25 No.4 in A-
CHOPIN / Classical Experimental, Classical Period Romantic		Kevin Hadsell A study in staccato left hand leaps as well as right hand syncopation. Hey, wait a minute - does that mean this etude is a ragtime piece? You should be able to hear how much fun I had interpreting this piece.
Etude Op.25 No.5 in E-
CHOPIN / Classical Electronic, Classical Period Romantic		Kevin Hadsell Also known as the "Wrong Note" etude due to such spicy (even humorous) ornaments, this etude is one of the few with a middle section. The outer sections resemble a mazurka, and the middle section resembles a barcarolle, with one of the most beautiful melodies Chopin has ever written. This melody resides in the tenor voice, creating a kind of "three-hand" effect.
Etude Op.25 No.7 in C#-
CHOPIN / Classical Period Romantic, Classical Piano		Kevin Hadsell Also called the "Cello" etude, this etude is among Chopins most famous works because of the left hand melody, resembling more of a nocturne than an etude.
Etude Op.25 No.8 in Db
CHOPIN / Classical Period Romantic, Classical Piano		Kevin Hadsell A study in sixths which can be harmful to small hands if not practiced with care. Von Bulow considered it "the most useful exercise in the whole range of etude literature."
Etude Op.25 No.9 in Gb
CHOPIN / Classical Experimental, Classical Piano		Kevin Hadsell Also called the "Butterfly" etude, the main technical problem is this short etude is the alternation of legato and staccato in one hand. Good wrist octaves and endurance are nessesary for a successful performance.
Etude Op.25 No.10 in B-
CHOPIN / Classical Period Romantic, Classical Piano		Kevin Hadsell Also known as the "Octave" etude, this fierce etude calls for great endurance in playing legato octaves. The contrasting middle section provides physical and emotional relief, but, as Niecks says, "...hell finally prevails."
Etude Op.25 No.12 in C-
CHOPIN / Classical Electronic, Classical Period Romantic		Kevin Hadsell Also called the "Ocean" etude, it is a study of arpeggios in both hands, requiring powerful weight control and balance in both hands. Some say this etude is an "echo" of the Op. 10 No. 1 etude.
Etude Nouvelle No.1 in F- from Methode de Moscheles et Fetis
CHOPIN / Classical Period Romantic, Classical Piano		Kevin Hadsell A study of rhythms of three against four, with right hand single notes and left hand arrpeggios. The three against four is difficult because of the distances between notes, where being closer would not present a challenge. This is such a rich tapestry of sound with its murmuring left hand and chromatic right, they compliment each other to their desired end.
Etude Nouvelle No.2 in Db from Methode de Moscheles et Fetis
CHOPIN / Classical Electronic, Classical Period Romantic		Kevin Hadsell A study in single-hand legato and staccato patterns. It is very difficult to maintain the legato melodic line with a connected left hand without comprimising the lower staccato notes of the right hand. This piece reminds one of a certain playfulness, and the serenity of harmonies joined together to meet the listener with the innocense of childhood.
cansado
jose basavilbaso / Rock General,		proyecto trenes TEMASO!!!!
Study No.1 in C (Chopin Op.10 No.1)
CHOPIN / Classical Period Romantic, Classical Piano		Kevin Hadsell A study after Chopin Op. 10 No. 1 etude in widespread arpeggios and jumps, as well as endurance. Godowskys arrangmement takes Chopins figurations to the left hand, and the right hand is given contrary arpeggios.
Crossword Blues
Tognoni, Rob / Blues Electric,		Rob Tognoni Power Blues Rock Emotion-charged hard electric blues
Study No.2 in Db (Chopin Op.10 No.1)
CHOPIN / Classical Electronic, Classical Period Romantic		Kevin Hadsell A study after Chopins Etude Op. 10 No. 1, for the left hand alone, consisting of widespread arpeggios in both ascending and descending patterns, with slightly different harmonies than what Chopin used.
Study No.3 in A- (Chopin Op.10 No.2)
GODOWSKY / Classical Electronic, Classical Piano		Kevin Hadsell A study after Chopins Etude Op. 10 No. 2 for left hand alone, for chromatic patterns in the 3rd, 4th, and 5th fingers and a controlled melody in the thumb.
Brush Your Teeth
/ Childrens Music,		Erock For Kids Erock gets a visit from his dentist, Dr. Gummit and gets a checkup in his living room while singing the virtues of taking good care of your teeth. Bring your toothbrush and have a ball.
Study No.4 in A- (Chopin Op.10 No.2)
CHOPIN / Classical Period Romantic, Classical Piano		Kevin Hadsell A study after Chopins Op. 10 No. 2 etude. This study uses Chopins original right hand pattern in the left hand with complimenting triads in the right hand. This is further frustrated with triplets in the right. Godowsky creates a game between the devilish dance of evil of the right hand with the whispering conscience of good in the left, settling together where all is at quiet at rest in the coda. Oil and water do mix!
Study No.5 in Db (Chopin Op.10 No.3)
CHOPIN / Classical Period Romantic, Romantic		Kevin Hadsell After Chopins Op. 10 No. 3 etude, this etude is for left hand alone. One would have to hear it to believe it. Here Godowsky moves to the warmer key of D-flat, moving and changing harmonies in mood with the key change. This is a great piece for the left handed pianist and seves as a great encore with its soothing mood and style. A must for any serious artist.
Study No.6 in C#- (Chopin Op.10 No.4)
CHOPIN / Classical Period Romantic, Classical Piano		Kevin Hadsell A study after Chopins Op. 10 No. 4 etude. Accompaniment and melody join together as one to form a true work of genius for the left hand alone. Nothing is left out or to chance with melody moving wherever it may to create a two hand effect. This study demands utmost endurance, combined with total control and independance of fingers. The left hand truly carries a candle burning at both ends!
Study No.7 in Gb (Chopin Op.10 No.5)
CHOPIN / Classical Electronic, Classical Period Romantic		Kevin Hadsell A study after Chopins Etude Op. 10 No. 5 ("Black Key"). The right and left hand reverse roles exactly: All of Chopins original right hand notes were placed verbatum in the left hand, and all of his original left hand chords were placed in the right hand, a delightful alternative to the original.
Study No.8 in C (Op.10 No.5)
CHOPIN / Classical Experimental, Classical Piano		Kevin Hadsell A study after Chopins Op. 10 No. 5 etude that is played on white keys, with the left hand executing the original right hand pattern. Godowsky adds contrary harmony and arpeggios in the right hand, making this a true tour de force!
Study No.9 in A (Chopin Op.10 No.5)
CHOPIN / Classical General, Classical Piano		Kevin Hadsell A study after Chopins Opus 10 No. 5 Etude ("Black Key"), in which the left hand takes over right hands role on whites in a minor key, with counter melody and harmonies in right hand. This etude is titled "Tarantella".
Study No.10 in A (Chopin Op.10 No.5)
CHOPIN / Classical, Classical Piano		Kevin Hadsell A study after Chopins Op. 10 No. 5 etude ("Black Key"). This etude might more appropriately be called the "White Key" etude, since the original figurations are placed on white notes (A major). Godowsky titled the etude "Capriccio".
Study No.11 in Gb (Chopin Op.10 No.5)
CHOPIN / Classical Period Romantic, Classical Piano		Kevin Hadsell A study after Chopins Op. 10 No. 5 etude ("Black Key"). The original right hand pattern is inverted (i.e. begins by ascending rather than descending) and placed into the left hand. I call this the "Bird Key" etude, because of the chirping right hand.
Study No.12 in Gb (Chopin Op.10 No.5)
CHOPIN / Classical Period Romantic, Classical Piano		Kevin Hadsell A study after Chopins Op. 10 No. 5 etude ("Black Key"). The original right hand part is inverted, and the left hand is given quadruplets to play against the right hands sextuplets.
Study No.12a in Gb (Chopin Op.10 No.5)
CHOPIN / Classical Period Romantic, Classical Piano		Kevin Hadsell A study after Chopins Op. 10 No. 6 etude, for left hand alone. Hats off to Godowsky! This composition maintains all of Chopins original melody stretched over counter harmonic arpeggios, keeping the cantabile character intact. Genius!
Study No.13 in Eb- (Chopin Op.10 No.6)
CHOPIN / Classical Electronic, Classical Period Romantic		Kevin Hadsell A study after Chopins Op. 10 No. 6 etude, for left hand alone. Hats off to Godowsky! This composition maintains all of Chopins original melody stretched over counter harmonic arpeggios, keeping the cantabile character intact. Genius!
Study No.14 in C (Chopin Op.10 No.7)
CHOPIN / Classical Experimental, Classical Period Romantic		Kevin Hadsell After Chopins Etude Op. 10 No. 7, the left hand plays exactly what Chopins original right hand plays. A very clever melody is invented by Godowsky, which gives the piece a toccata-like flavor
Study No.15 in Gb (Chopin Op.10 No.7)
CHOPIN / Classical Period Romantic, Classical Piano		Kevin Hadsell Here Godowsky explores the limits of human possibility. Melody is tranferred between the hands, while maintaining accompaniment for both. Nothing of the original is lost, but a lot more is surely added!
Study No.15a in Eb (Chopin Op.10 No.7)
CHOPIN / Classical Period Romantic, Classical Piano		Kevin Hadsell After Chopins Etude Op. 10 No. 7, a study for left hand alone. Here, the left hand provides both the melody and an embellished accompaniment, with counter harmonies.
Study No.16 in F (Chopin Op.10 No.8)
CHOPIN / Classical Period Romantic, Classical Piano		Kevin Hadsell After Chopins Etude Op. 10 No. 8, this is an inverted representation of Chopins original right hand figure for the left hand, with counter harmonies and arpeggios played by the right hand. A true nightmare in spacing.
Study No.16a in Gb (Chopin Op.10 No.8)
CHOPIN / Classical Period Romantic, Classical Piano		Kevin Hadsell A study for left hand alone. This is especially difficult to maintain the melodic line by constant movement, which does not allow the piece to lie under the hand.
Study No.17 in C#- (Chopin Op.10 No.9)
CHOPIN / Classical Waltz, Classical Piano		Kevin Hadsell This etude is very difficult to maintain control of voicing and balance in general. This could be titled the "Dance of the Gnomes" with its animated sound from a Disney cartoon. This sounds much lighter and more playful through embellishments and a key change to c-sharp minor.
Study No.18 in F- (Chopin Op.10 No.9)
CHOPIN / Classical General, Classical Period Romantic		Kevin Hadsell This is two etudes combined into one: Chopins Opus 10, No. 9 and Opus 25, No. 2, the left hand comprising the latter. The composition is very thick, almost sounding fugal in nature. However, the melodic integrity of Op. 10, No. 9 is maintained under the contrasting etude of Op. 25 No. 2. The genius of the arrangement equals the genius of the original, with much added difficulty. The coda uses closing themes from both etudes, for a delightful and rather unexpected conclusion.
Study No.18a in F#- (Chopin Op.10 No.9)
CHOPIN / Classical Period Romantic, Classical Piano		Kevin Hadsell A study for the left hand alone, but who would have guessed that! Here Godowsky takes full advantage of Chopins melody shifting with contrasting harmonies shifting across the keyboard like an acrobat in the full flight of ecstasy. This is sustained by the hypnotizing C-sharp resounding with a hollow like quality holding the listener captive. Surely one of Godowskys greatest transcriptions.
Study No.19 in D (Chopin Op.10 No.10)
CHOPIN / Classical General, Classical Period Romantic		Kevin Hadsell Godowsky makes a key change from A-flat major to D major employing right to left hand. This metamorphasis is further developed through the use of full triads, rather than sixths in Chopins original. Ornamentation is added to the right hand to make things even more challenging, along with more complex rhythms as the work progesses to a descending climax with triads in both extemities, until the D major recapitulation returns for the finale of finales!
Study No.20 in Ab (Chopin Op.10 No.10)
CHOPIN / Classical Period Romantic, Classical Piano		Kevin Hadsell Written for left hand alone, Godowsky employs counter chromatic figures against the upper melody, coupled with rythmic doubling and counter hamonies. This etude would seem impossible upon hearing that it could all be contained in one hand, and one brain for that matter. A true work of contrapuntal art, bravo!
Study No.21 in A (Chopin Op. 10 No.11)
CHOPIN / Classical Period Romantic, Classical Piano		Kevin Hadsell After Chopins Op. 10 No. 11 etude, and written for left hand alone, this etude incorporates the melody in the last note of rolled arrpegiated triads, which proposes a large jump from the lower notes of triads (indicated by a separate staff). The difficulty does not lie on the surface, but upon execution of the most austere kind. This also requires utmost balance of voice and tonal control. Godowsky transposes to the brighter key of A major for tonal richness and playability.
Study No.22 in C#- (Chopin Op.10 No.12)
CHOPIN / Classical Period Romantic, Classical Piano		Kevin Hadsell After Chopins Op. 10 No. 12 ("Revolutionary"), here Godowsky transposes to the brighter and more exhilerating key of C-sharp minor. This etude moves frantically through with left hand alone! The shifting of accents and rhythms makes it exciting indeed with the melody moving freely in changing registers, still holding full melodic integrity. The thumb maintains most of the melody, being easier to bring out and becoming one of the more accessable of the Godowsky studies (if such a thing is possible).
Phantom Forklift
EZ CHEEZ / Alternative Experimental-Post Rock, Alternative Leftfield		EZ CHEEZ This is an old analog recording of a great song. It has several parts and is.....I dont know how to describe it. Its upbeat and zany.
What a Horrible Night to have a Curse (LIVE)
?? / Classical, Metal Instrumental Metal		EZ CHEEZ A medley of Castlevania songs from the old Nintendo games. Recorded live. Very awesome.
Everyone Eating the Same Giant Omelette
EZ CHEEZ / Alternative Experimental-Post Rock,		EZ CHEEZ Circus music and blues together at last. This song is crazy. Also very old, so give us money to record professional yall!
Spoon
EZ CHEEZ / Alternative Experimental-Post Rock, Metal		EZ CHEEZ Part of the collection of songs by EZ CHEEZ like Spoon Fork Knife Plate Glass Napkin ect. Very sweet bass, very heavy.
We Gang Raped the Grim Reaper
EZ CHEEZ / Alternative Experimental-Post Rock,		EZ CHEEZ Sounds kinda trancey, kinda prancy, somewhat dancey. No, this song rocks. Listen to it.
Revival On Your Knees (radio mix)
Lane, Paul (b.1961) ; UK / Pop,		Butterfly Island A song about realising the true cost of pursuing your hopes and dreams, to see them fulfilled in your lifetime...
The Bridegroom Song
Lane, Paul (b.1961) ; UK / Rock, Pop		Butterfly Island A song about a very special relationship and a longing soon to be fulfilled...
SLAVE TOO THE GAME
FRAZIER TEDJU / Rap New School,		TEDJU HOT
Last Call
PROBST, Gero, Germany / Rock,		Last Call
Final Moment
/ Rap East Coast,		MAAD MONK
clowns(live)
/ Hip Hop,		MAAD MONK
The Sickening
/ Metal Death,		Mucus Membrane
Da Game Feat.Infamous
/ Hip Hop,		Lucky Seven Deep Joint made wit a slow smooth tempo easy to follow and get into the Lyrics shhh Just listen
Ritual Disembowelment
Persons, Tom (1968 - ) / Metal Death,		Mucus Membrane
Mr Outside
Hurst / Rock,		Hurst Rock meets pop with a storming melody.
Long Way Home
Matt Scott / Pop,		Hurst Classic guitar pop, with the catchiest of choruses.
Fuera De La Mente
Lugo / Latin Rock En Espanol, R+B		Lugo A hot trac used for Jay-z movie State Property
Hopeless
/ Electronic, Electronic Breakbeat-Breaks		Dj Anonymous Progressive electronica
Timeless
/ Electronic Breakbeat-Breaks, Electronic Trance		Dj Anonymous Trancy Breaks
Wicked Act Dub
/ Electronic Dance, World Reggae		Dj Anonymous Nice live dub tune
Revenge
/ Electronic Hip-Hop, Hip Hop Beats		Dj Anonymous Dark hiphop beat
The Excalibur Project
/ Electronic Dance, Electronic Trance		Dj Anonymous Thanks to Nedelle for lending her voice!
Tribal Cosmos
/ Electronic Dance, Electronic House		Dj Anonymous Trippy hard-house
Triumph of Night
RINKER, James / Metal Heavy Metal,		Shroud Of Steel
Dying in Digital
SURBER, Wesley (1982-present), USA / Electronic Industrial,		Cryptic Origin The title track for the Cryptic Origin remix album, "Dying in Digital."
Forever Buried Pain
written & performed by Detonation / Metal Death, Metal Thrash-Speed Metal		DETONATION The first song on the Promo 2001, rather short, fast, well-arranged and catchy. Features guest vocals by George Oosthoek, lead-singer of well-known Dutch Metal band ORPHANAGE.
Porn Star
Tricky Dick / Rock,		Tricky Dick
Study No.23 in Ab (Chopin Op.25 No.1)
CHOPIN / Classical Period Romantic, Classical Piano		Kevin Hadsell After Chopins Op. 25 No. 1 and written for left hand alone, the melody is sustained throughout by the thumb (soprano) with counter-chromatic melodies played in the alto or tenor voice. This etude requires utmost balance and control, coupled with relaxation and flexibility.
Study No.24 in Ab (Chopin Op.25 No.1)
CHOPIN / Classical Period Romantic, Classical Piano		Kevin Hadsell After Chopins Op. 25 No. 1 etude, the right hand notes are copied to the left hand with the added fifth at the bottom of each second triplet. Godowsky then adds the same melody to the right, creating a "four-handed" effect.
Study No.25 in Ab (Chopin Op.25 No.1)
CHOPIN / Classical Electronic, Classical Period Romantic		Kevin Hadsell After Chopins Op. 25 No. 1 and a most beautiful, sensitive piece, it requires a sensitive and sympathetic touch, extreme delicacy and refinement, independence of fingers, and a perfect legato--in other words, a voicing nightmare! Arguably the most ethereal etude Godowsky has written.
Study No.26 in F- (Chopin Op.25 No.2)
CHOPIN / Classical Period Romantic, Classical Piano		Kevin Hadsell After Chopins Op. 25 No. 2 Etude. Here Godowsky places the single note right hand figure in the left hand with added harmonies coupled with right hand harmonies and complex rhythms. This certainly sounds improvised and is as difficult as it sounds.
Study No.27 in F- (Chopin Op.25 No.2)
CHOPIN / Classical Period Romantic, Classical Piano		Kevin Hadsell After Chopins Op. 25 No. 2 etude, Godowsky writes an inversion of Chopins right hand configuation, coupled with a waltz like rhythm throughout.
Study No.28 in F- (Chopin Op. 25 No.2)
CHOPIN / Classical Period Romantic, Classical Piano		Kevin Hadsell After Chopins Op. 25 No. 2 etude, here Godowsky keeps the single note passagework in the right hand. As if that were not enough already, he adds chromatic counter harmonies for the same hand, while adding minor sixths for the left.
Study No.28-2 in F#- (Chopin Op.25 No.2)
CHOPIN / Classical Electronic, Classical Period Romantic		Kevin Hadsell (Second version of Study No.28) After Chopins Op. 25 No. 2 etude, this represents a note-for-note translation from Chopins right hand single notes to Godowskys octaves. Legend says Liszt could play the octaves as fast as single notes according to those who heard him. Godowsky takes this a step further by adding minor sixths in the left hand coupled in chromatic interwoven harmonies, casting an etherial effect upon the listener.
a present
/ Alternative,		jason sebastian a lovely love song, catchy too good bass if i do say so
sunday evening
/ Alternative,		jason sebastian a fun time had by all
Study No.29 in F (Chopin Op.25 No.3)
CHOPIN / Classical, Classical Period Romantic		Kevin Hadsell After Chopins Op. 25 No. 3 etude, Godowsky shifts the melody between the hands using voicing from both hands, including syncopated rhythmic figures where needed. The key to this etude is flexibility and balance between hands at all times.
Study No.30 in F (Chopin Op.25 No.3)
CHOPIN / Classical General, Classical Period Romantic		Kevin Hadsell After Chopins Op. 25 No. 3 etude and hardly distinguishable from the original, this requires maximum flexability with careful fingering. Godowsky maximizes use of voicing and balance of sound. One of the more difficult of the left hand studies.
Take 2 (Rentless Distortion Mix)
drewK / Electronic Experimental,		drewK distortion with a beat...
Study No.31 in A- (Chopin Op.25 No.4)
CHOPIN / Classical Period Romantic, Classical Piano		Kevin Hadsell After Chopins Op. 25 No. 4 etude and written for left hand alone, this utilizes both accompaniment and melody sustained with just one hand, requiring frequent fingering changes. The thumb takes charge of the melody, but becomes secondary with the arpeggiated ending, where melody shifts from place to place, taking absolute control to sustain balance. This shows the most difficult piece does not necessarily contain the greatest amount of notes.
Study No.32 in F- (Chopin Op.25 No.4)
CHOPIN / Classical Period Romantic, Classical Piano		Kevin Hadsell After Chopins Op. 25 No. 4 etude, Godowsky takes the piece through an entire metamorphosis and contrast of rhythm, contrasting harmonies and voices, and representing a colossal polonaise. What a brilliant theme to build on with more material to work with than first imagined. Godowsky steps up the challange, where one would even forget this was an Etude in its genesis.
Study No.33 in E- (Chopin Op.25 No.5)
CHOPIN / Classical Period Romantic, Classical Piano		Kevin Hadsell After Chopins Op. 25 No. 5 etude, Godowsky shifts the melody between hands, moving constantly through interwoven textures that are so rich, one could dine on them. This is a true masterpiece in polyphonic textures and counter/parallel harmonies.
Study No.34 in C#- (Chopin Op.25 No.5)
CHOPIN / Classical Period Romantic, Classical Piano		Kevin Hadsell After Chopins Op. 25 No. 5 etude and written in the form of a mazurka, this takes on an entirely different character, making the most of Chopins original melody and spirit of the piece. This also has the dance-like quality of the original waltz time with embellishments added to compliment a scherzo-like quality.
Study No.35 in Bb- (Chopin Op.25 No.5)
CHOPIN / Classical Period Romantic, Classical Piano		Kevin Hadsell After Chopins Op. 25 No. 5 etude and transposed to the darker key of B flat minor for one hand, this tends to make the texture sound much richer. This transciption has a more astere and macabre-like tenure, taking us through the melodic middle section with shifting accents on the melody and arpeggiated accompaniment.
Study No.36 in G#- (Chopin Op.25 No.6)
CHOPIN / Classical Period Romantic, Classical Piano		Kevin Hadsell After Chopins Op. 25 No. 6 etude, Godowsky simply places the right hand pattern in the left hand, giving the etheral sound when combined with upper harmonic triads and octaves. He grandly sweeps down woth thirds on both hands, giving the player plenty to occupy mind and faculties.
Study No.38 in Db (Chopin Op.25 No.8)
CHOPIN / Classical Period Romantic, Classical Piano		Kevin Hadsell After Chopins Op. 25 No. 8 etude, this is a note-by-note transciption from right hand to left hand, with the exception of some chordal areas to add harmonic richness. Godowsky offers a complementary dessert of harmonies to a rich dinner of sixths.
Study No.28-2 in F- (Chopin Op.25 No.2)
CHOPIN / Classical Period Romantic, Classical Piano		Kevin Hadsell After Chopins Op. 25 No. 2 etude, this represents a note-for-note translation from Chopins right hand single notes to Godowskys octaves. Legend says Liszt could play the octaves as fast as single notes according to those who heard him. Godowsky takes this a step further by adding minor sixths in the left hand coupled in chromatic interwoven harmonies, casting an etherial effect upon the listener.
Study No.39 in Gb (Chopin Op.25 No.9)
CHOPIN / Classical Period Romantic, Classical Piano		Kevin Hadsell After Chopins Op. 25 No. 9 etude, Godowsky transfers the right hand configuration to the left hand. This is complimented with right hand octaves and major sixth accompaniment.
Study No.40 in Gb (Chopin Op.25 No.9)
CHOPIN / Classical Period Romantic, Classical Piano		Kevin Hadsell After Chopins Op. 25 No. 9 etude and written for left hand alone, Godowsky primarily shifts the melody to the top voice, with contrasting chromatic harmonies and a single bass note accompaniment. This is a true etude in jumps and voicing. The general mood of the piece is deliverable at a faster tempo, as taken here; otherwise, the spirit of the piece is lost.
Study No.41 in B- (Chopin Op.25 No.10)
CHOPIN / Classical Period Romantic, Classical Piano		Kevin Hadsell After Chopins Op. 25 No. 10 etude and written for left hand alone, this etude has a solid base note as accented accompaniment while playing chromatic single notes and triads ascending and descending.
Study No.42 in A- (Chopin Op.25 No.11)
CHOPIN / Classical Period Romantic, Classical Piano		Kevin Hadsell After Chopins Op. 25 No. 11 etude. How could this be an Etude of an Etude you might ask? First things first. Godwsky changes the sixteenths from the right hand to the left. Then he adds full octave acompaniment in the right hand, which has large jumps after the main theme introduction. Then octaves are added when single notes would not suffice, giving the piece an orchestral quality throughout. This is further frustrated when the melody moves in and out of these orchestral configuations.
Study No.43 in C#- (Chopin Op.25 No.12)
CHOPIN / Classical Period Romantic, Classical Piano		Kevin Hadsell After Chopin Etude Opus 25, No. 12 and written for left hand alone, this time one takes on the full structures of three note triads, jumping about like a wild stampede of northwestern buffalo. This is not merely a wave of the ocean, but a cataclism of Noahs flood itself, raining down all of heavens omnipotent power.
Study No.44 in F- (Chopin Nouvelle No.1)
CHOPIN / Classical Period Romantic, Classical Piano		Kevin Hadsell After Chopins Etude from Methode de Moscheles et Fetis No. 1 and written for left hand alone, this is a study in arpeggios coupled with rhythmic accents at various times. The primary difficulty lies in the voicing combined with wide, complex movements. Godowsky changes the three against four notation to a straight four-note rhythm, shifting accents where needed.
Study No.45 in E (Chopin Nouvelle No.2)
CHOPIN / Classical Period Romantic, Classical Piano		Kevin Hadsell After Chopins Etude from Methode de Moscheles et Fetis, No. 2, this is an etude of rhythms on Chopins etude in rhythms, an etude for the mind! It is a very complex patterrn of contrasting rhythms combined with very delicately interwoven harmonic textures.
Study No.45a in Ab (Chopin Nouvelle No.2)
CHOPIN / Classical Period Romantic, Classical Piano		Kevin Hadsell After Chopins Etude from Methode De Moscheles et Fetis and written for left hand alone, this etude incorporates accompaniment, contrary rythms and contrasting harmonies. The beauty of this work is found in the combination of complexity and simplicity.
Study No.47 in Gb (Chopin Op.10 No.5 & Op.25 No.9)
CHOPIN / Classical Period Romantic, Classical Piano		Kevin Hadsell After Chopins Op. 10 No. 5 AND Op. 25 No. 9 etudes. It takes genius to imagine combining two etudes together.
Study No.46 in G (Chopin Nouvelle No.3)
CHOPIN / Classical Period Romantic, Classical Piano		Kevin Hadsell After Chopins Etude No. 3 from Methode de Mosceles et Fetis, this etude is a study in legato and staccato configurations. It has the sound of four hands that incorporate extreme control in touch and changing in fingering, keeping pedaling to a minimum. During no time in the piece can this challenge be compromised, or the piece loses its entire character.
Study No.48 in F (Chopin Op.10 No.11 & Op.25 No.3)
CHOPIN / Classical Period Romantic, Classical Piano		Kevin Hadsell After Chopins Op. 10 No. 11 etude and Op. 25 No. 3 etude, here two etudes of an entirely different character join forces. This incorporates widespread arpeggios with single-note trills alternating between hands at different times, making a smooth melodic line difficult to mantain.
Nothing Beautiful
CARLINE, Jeff / Alternative Goth, Electronic Industrial		Visions Of Passion
Waltz Op.34 No.1 in Ab
CHOPIN / Classical Waltz, Classical Period Romantic		Kevin Hadsell A Waltz in the grand style, thus titled "Grande Valse Brillante". This Waltz has widely changing moods in a rich texture of A-flat major, the dominant key in most of the waltzes. The ending almost loses its waltz-like character, but it strongly returns to bring the piece to a grand finale.
Waltz Op.34 No.2 in A-
CHOPIN / Classical Waltz, Classical Period Romantic		Kevin Hadsell Certainly the most lyrical of all the waltzes, this is written in the serene key of A minor. Chopin takes advantage of the bittersweet implications of minor and major together, especially in the climax (prior to the somber closing of A minor).
Waltz Op.34 No.3 in F
CHOPIN / Classical Electronic, Classical Waltz		Kevin Hadsell Effectively called the Cat-Waltz, this starts with very pronounced opening chords, as if a cat jumped from the ceiling onto the keys. The cat races to play a rhythmic game of cat and mouse with the cat being the waltz beat, until pouncing once again to conclude as boldly as it began.
Waltz Op.42 in Ab
CHOPIN / Classical General, Classical Waltz		Kevin Hadsell This could be titiled the "Hemiola Waltz", with its play on rhythm in the main theme. This piece has it all: a rolling, lyrical opening, a suspenseful and suprising middle theme, a nocturne-like interlude with a climactic closing comprised of a burst of notes, making up a very suprising omega.
Waltz Op.64 No.1 in Db (
CHOPIN / Classical Experimental, Classical Waltz		Kevin Hadsell Subtitled the "Minute Waltz" and certainly the most popular of all his waltzes, it is written in very simple form, and it is very accessible for both the listener as well as player. The beauty of this work lies in its unpretentious manner and innocence.
Waltz Op.64 No.2 in C#-
CHOPIN / Classical Electronic, Classical Waltz		Kevin Hadsell Perhaps Chopins greatest Waltz, the sweetness of the sixths sing forth throughout the piece, with a key change to D-flat in the middle section, sounding as much like a nocturne as a waltz. The piece closes with the second theme ending as gracefully as it began.
Waltz Op.64 No.3 in Ab
CHOPIN / Classical Waltz, Classical Period Romantic		Kevin Hadsell This waltz is primarily written in a chromatic style, with a lyric interlude in C major.
Waltz Op.69 No.1 in Ab
CHOPIN / Classical Waltz, Classical Period Romantic		Kevin Hadsell One can hardly believe this piece would be in a major key, being so melancholy and serene. Definitely one of Chopins deepest waltzes, it contains a contrasting style in the C major section, finally returning to the sober ending.
Waltz Op.69 No.2 in B-
CHOPIN / Classical Waltz, Classical Period Romantic		Kevin Hadsell One of Chopins more simply stuctured waltzes, this shift moods from minor to major with a joyful D major section (leading back to the minor). This is followed by the B Major section, sounding as if a ballerina pirouetted back to the minor to close with the opening theme.
Waltz Op.70 No.1 in Gb
CHOPIN / Classical Waltz, Classical Period Romantic		Kevin Hadsell The shortest of all the Waltzes, this playful piece takes on wings of flight, settling down to rest in the lyric middle section. Once again the bird takes flight never to rest to the origin from which it came.
Waltz Op.70 No.2 in F-
CHOPIN / Classical Waltz, Classical Period Romantic		Kevin Hadsell Who could say more with so few notes? This simple waltz is so profound, relying on only two or three simple themes blended sumblimely. It is wonderful depth combined with inner sadness.
Steel Beast
/ Metal Heavy Metal, Metal Thrash-Speed Metal		DISTILLED SPIRITS This Song Is About A Tank We Call Steel Beast.
G.H.B
?? / Metal Alternative Metal,		substance
Waltz Op.70 No.3 in Db
CHOPIN / Classical Waltz, Classical Period Romantic		Kevin Hadsell This waltz is full of wandering melodies singing sweetly between soprano and alto. The bass finally has its solo in the middle section, pulling at the heartstrings in B flat minor, returning to the familiar A-flat heard once again to resolve in pure happiness.
Waltz Op.Posth. in E-
CHOPIN / Classical Waltz, Classical Period Romantic		Kevin Hadsell A grand, sweeping waltz with climactic arpeggios in the middle, sandwitched between the beginning and end. This waltz is light and dark at the same time - it is a sad waltz that pretends to be happy.