Piano Works, Opus 1

by JmAY

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1.	3 Piano Impromptus, Op. 1 12:04	info
2.	Piano Sonata No. 1 in E-Flat, I - Moderato 05:22	info
3.	Piano Sonata No. 1 in E-Flat, II - Largo 02:28	info
4.	Piano Sonata No. 1 in E-Flat, III - Spirito 01:54	info
5.	Piano Sonata No. 1 in E-Flat, IV - Allegro molto 05:25	info
6.	Piano Sonata No. 2 in G-Major, I - Vivace (free) 02:56	info	download
7.	Piano Sonata No. 2 in G-Major, II - Minuet and Trio (free) 01:51	info	download
8.	Piano Sonata No. 2 in G-Major, III - Allegro con fuoco (free) 04:02	info	download

about

Written during 2009, this album contains the first opus of classical piano sonatas and piano impromptus by the self-taught, multi-genre artist/producer/composer JmAY. The album contains two full sonatas, No. 1 in E-Flat Major, No. 2 in G-Major, and 3 Piano Impromptus in D-Minor, G-Minor, and B-Flat Minor.

The 3 impromptus were written mostly through improvisation during off periods between writing the piano sonatas. All three are written in minor keys and are each unique.

The first in D-Minor was intended to be the first movement of a 3rd piano sonata, as it is written in sonata form. It's turbulent and angry nature can be heard and felt in its rhythms and harmony.

The second, in G-Minor, was written shortly after completing the first and was an experiment in pushing the limits of the performer, listener, and harmony of the classical style.

The final impromptu, in B-flat Minor, was the first of JmAY's compositions to use a central theme of dissociation as a the framework for it's structure. Dissociation is a partial or complete disruption of the normal integration of a person's conscious or psychological functioning. The listener is taken on a journey through the mind of a dissociative composer, hearing many different themes, rhythms, abrupt changes in mood and character, minimal resolution, and some dramatic irony at the pieces close in the tonic major.

The first in E-Major is mostly an experiment in J's compositional capabilities to test if without formal training he could complete a sonata with theory and form intact. It was written in 2 weeks, mostly without sleep, and was a compositional success.

Unlike the first, the second sonata in G-Major was an opportunity to challenge JmAY to broaden his color usage in harmony while paying homage the early masters, but still assert his individuality as a composer. The piece took about 2 months of sketching, editing, and finalizing before being recorded.

credits

released July 1, 2010

James F. May II - Piano

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JmAY Kansas City, Missouri

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