about the music
i’m obsessed with rhythmic accuracy and phrasing, especially inner voicing.
the music i compose is mostly pattern based and is heavily influenced by the impressionists. i don’t approach composition by setting out to write about specific emotions or events. i try not to be conscience of meter, key, or tonality. usually , i set out to write about geometric shapes, lines or patterns. once the piece starts to take form, then i start to associate emotions and that in turn influences the performance.
and in my head, when it is best, the music becomes storytelling. these stories can be small, like when i was a teenager, we traveled from the west coast to east coast by car with my family. and the piece tells the story of what i saw and how i felt.
or it can be the story of standing alone at the end of a driveway watching the dust churned up by spinning wheels settle down in the distance.
about me
people always ask me to describe my music and, for awhile, the joke i would tell was: what if aaron copland and claude debussy had a love child that was raised by hans otte?
understandably, not many people understood.
but right now, in a world of .0000003 cents per stream, and spending years spending money trying to self promote with no results, i realized that what i really want to do is compose music.
it is what keeps me sane.
so i’ll keep composing and releasing music but without all the promotional stuff.
the living room recordings
available now on:
bandcamp
as i was in the middle of composing music for my second solo piano album, i realized that my playing had changed over the years with the pieces on my first album, “a guide to misinterpreting the past”.
so i set out to re-record them in the the place i think they sound the best: my living room. i wanted people to hear them as i do, and i hope that is what i’ve done.
listen to it with good headphones.
{aguidetomisinterpretingthepast}
recorded at skywalker ranch
produced by leslie ann jones
