Thanks for providing all these amazing resources! I'm glad that people like yourself exist to make these sort of things free for everyone to listen to!

Some of the roll artists were quite advanced to be sure, but this is HARMONICALLY ahead of what practically everyone else was doing at the time.

This arrangement would sound fantastic played on the theatre organ, I can just hear the horns or cellos taking the tenor line, the high embellishments going to the flutes or strings, certain block chord breaks to the trumpets, and judicious percussion. This could be a lot of fun to play, and playable by one person!

@daveluttinen2547

4 жыл бұрын

I agree with you. I find an interesting opportunity to use both feet to enhance harmonic progression. It was funny how I was following the music and moving my feet across the pedalboard. I have a classical 3/29 Kimball pipe organ at home so it should be interesting!

Wonderful.

Probably the only roll artists I could see holding a candle to this in terms of modernism would be maybe Ralph Reichenthal / Rainger (Standard and Ampico), Edgar Fairchild (Rythmodik / Ampico) and especially Robert Billings (U. S.) who often sounded years ahead of his time. Of course, Gershwin himself probably was great on HIS roll, and could have taken this much much farther as well, since he of course had extensive musical training. Confrey, for his part, took lots of theory courses at the Chicago Musical College in the 'teens.

I enjoyed listening to this piece. I did not have the chance to hear this where I could access my piano. It sounds to me that the key transition at around measure 88 goes from a C7 chord to F major rather than the key signature given for the ending section.

Sounds 3 handed. I could be wrong but it was not an unusual practice at the time this was made. I realise three voices is rather difficult on piano but this definitely sounds doctored.

Very nice Yukimatsuri

DAMN look at all those chromatics he puts in !!!