These are not for commercial use. His e-mail address is listed if one wants to contact him about licensing. They were all recorded to midi by Doug McKenzie on a Yamaha P250. About 250 solo jazz piano files, mostly standards. (A very few appear to have a bass added that gets mixed in with the piano track by accident.)
ON AT LEAST ONE OF THESE, MIDI CC CHANGES ARE MADE DURING PAUSES IN THE PERFORMANCE. If you have cc's assigned to parameters in PTeq, these changes will be reflected in your PTeq settings. Not good. Sweet Embraceable You has this occur around 2.30.
Jazz Piano Midi Download
Download Zip 🔥 https://urluso.com/2yGbmK 🔥
(At first I thought he was he hitting a few off-notes in the midi file, in the bass near the late middle. It's a bass track that doesn't work when it's mixed into the piano track. Sounds good in the video, though.)
Did you know that the Erard company originally made harps? My impression (haven't fully researched this) is that their entry into making pianos is what led to the modern steel "harp" in pianos, and thus the greater tension and higher pitches on modern pianos--they just set a harp on its side and put it in a piano, from what I can tell!
I find that most files that have piano, bass, drums, etc, usually have the piano on channel 1, so I can eliminate the other sounds in Pianoteq in the MIDI setting. In fact I have a number of my own "creations" with a bass line, and if I forget to select channel one, I find out very dramatically.
This particular mp3 exceeds Pianoteq's 10MB limit, so it is made available to you via Mediafire.com. As with my Variations on Jingle Bells file, this Gershwin piece was arranged and performed (this time in multitrack midi) by Yours Truly more than decade before Pianoteq became available.
I started working on this in an (unsuccessful) attempt to become a Roland performing artist, back in 1995. At the time, I had acquired a JV-1080 sound module that had a whopping 64MB (not GB) worth of ROM (read-only memory) sounds, and a total polyphony of an equally whopping 64 simultaneous voices.
This particular arrangement took me perhaps 3 or 4 months to work up. It was designed to put the JV-1080 through its paces in a 16-track performance. Since there are far more voices than are allowed by 16 simultaneous tracks, I made very, very extensive use of program changes. Everything you hear in the mp3 was done via midi sequence in real time through the 1080, including panning, pitch bends and reverb -- there is no audio rendering and no third-party processing going on here.
Many of the sounds you hear, especially the soaring solo trumpet line at approximately 4:00 were from "static" sounds. I made great use of pitchbend, volume and expression edits to enable the instruments to sound plausible.
Surely, the sound is dated, but we are talking about sounds from fifteen years ago. Thinking back, this was done on my Macintosh computer of only 4MB of RAM, an 80 meg hard drive and an ancient 25 Megahertz (1MHz = one thousandth of 1GHz) Motorola 68030 series microprocesser. The sounds were purely from this Roland hardware sound module. I used MOTU "Performer", the MIDI-only software precursor to "Digital Performer".
A bit of explanation of my arrangement is in order:
Because of the title, "A Foggy Day in London Town", the piece begins with the ringing of Big Ben -- from a custom patch by playing chimes that were pitch bent some three octaves (36 half steps) low, and making use of multi-tap delays and multi panning in the JV-1080.
The idea is that the listener is walking around London, and by chance walks into a pub wherein a lone pianist is plunking out the Gershwin tune one note at a time. Please note the intentional clash between the pianist's rhythm who is totally oblivious to Big Ben's chiming of 10PM.
As the pianist is going along (the JV-1080's piano was absolutely horrible sounding by today's standards), in comes a double bass player who takes up the melody. The pianist assumes the accompanist position to the bass line.
Between full bigband reprises of the chorus and bridge come a series of solo excursions that include clarinet, trombone, trumpet, piano and vibes, and duets between various soloists, all interspersed with some key changes. By the way, all of the percussion drum sounds were from single notes flown in one-at-a-time -- no loops, here. In fact, if you listen closely, I kept changing the rhythm patterns to keep them from sounding too mechanical or boring in nature.
The hardest part for me in arranging this piece was how to end the darned thing. Finally, in an act of sheer desparation, I suddenly switched to the ending of Johnny Carson's "Tonight Show" theme song, in order to bring about a suitable close to this arrangement.
As you listen to this piece, please again be aware this was done some fifteen years ago on a hardware sound module that had only 64 total voices of polyphony and several hundred sounds crammed into 64MB of ROM. I hope you enjoy.
This was not submitted before now, because -- with due consideration to Niclas and Guillaume -- this IS the Pianoteq forum, not the Joe Felice forum. I was rising to the challenge of "... what might Felice do with a jazz setting?"
TO: Niclas and Guillaume, I recently acquired some good-sounding Big Band Jazz sampling software, and sincerely intend to redo this arrangement with Pianoteq prominently featured in the solo piano part. This particular thread came up before I had a chance to do it in Pianoteq. You will be very proud of your modeling software when this re-recorded arrangement gets posted here.
I was wondering what your impression of his rendition was - he stayed pretty close to the original - at least didn't stray nearly as far from the original harmonies as his other interpretations of pop tunes.
Glenn--I apparently spoke too soon about Erard. Strangely, they started as harp makers, but Benjamin Adams in Boston seems to have first patented the all metal piano frame. (But there's a Steinway patent, too. Apparently who invented what is a matter of contention.)
But Erard contributed a lot--the invention of the double-escapement allowing rapidly repeated strikes, and according to some sources, the earliest pedals (developed from harp pedals). The founder also created two piano-organ combinations for Maire Antoinette. Had to flee to England when the Revolution broke out.
Recent advances in automatic piano transcription have enabled large scale analysis of piano music in the symbolic domain. However, the research has largely focused on classical piano music. We present PiJAMA (Piano Jazz with Automatic MIDI Annotations): a dataset of over 200 hours of solo jazz piano performances with automatically transcribed MIDI. In total there are 2,777 unique performances by 120 different pianists across 244 recorded albums. The dataset contains a mixture of studio recordings and live performances. We use automatic audio tagging to identify applause, spoken introductions, and other non-piano audio to facilitate downstream music information retrieval tasks. We explore descriptive statistics of the MIDI data, including pitch histograms and chromaticism. We then demonstrate two experimental benchmarks on the data: performer identification and generative modeling. The dataset, including a link to the associated source code is available at
There was a shopping mall in my hometown Bergen, where a guy was playing this kind of music. He was quite good!
At the time I only had been playing simple chords with simple octaves in my left hand.
When I listened to the lounge jazz piano guy, I thought that what he did was just amazing. First of all: He played chords that I had never ever heard before. I fell in love right away! Still, I found it as a mystery for many years.
How was it possible to produce all those rich-sounding chords and harmonies? I was speechless! Then, in about 1998 I got a copy of some old MIDI files from about 1990. Not that old then, but today they are. I still have them and use them when I teach locally.
My problem was that I could not read music at the time (in 1998). But then, when I discovered the MIDI files I was blown away. Finally: I could just sit and copy note by note what was played at the MIDI files. And so I did. Many of the MIDI files was Lounge Jazz Piano style or cocktail jazz piano style.
1. Play in different ranges when you play the melody. To play the lounge jazz piano style requires from you that you are able to improvise the way you phrase the melody. One good trick that I use a lot is to vary where you play the melody. I at least try to play the melody in three different places. So: Start in one octave, then when a phrase of a melody is done, change to another. That simple, but yet so effectful
3. Play the melody in octaves. This simple trick is very easy to add. Whatever you play as a melody, you play it in octaves. This is done with your right hand only, while the left hand does the other work.
A chamber concert starts off the Herrin events beginning at 2 p.m. on June 15. The concert features a Beethoven piano trio and a Prokofiev string quartet. A piano trio, by the way, does not refer to three pianos, but rather to a piano and two other instruments. Beethoven was influential in altering the form of the typical piano trio so that each of the three instruments contributed to the music rather than the piano always leading.
Jazz takes over beginning at 7:30 p.m. on June 18, when the New Arts Jazztet comes to Herrin. New Arts Jazztet features Tyler Kuebler on woodwinds and MIDI; Bob Allison, trumpet and flugelhorn; Tim Pitchford, trombone; Phil Brown, bass; and Ron Coulter, drums and percussion. All Jazztet members live a double life as SIUC music professors. New Arts Jazztet is known for its original works, though they maintain a deep repertoire of jazz classics. The group performs all over Southern Illinois and at hot jazz spots in other areas, including Chicago and Cincinnati. 152ee80cbc
ram charan birthday photos download
how to download football live tv