IMSLP - User contributions [en]

Etude (Shuey, Michael Gabriel Edouard)

2020-07-31T02:36:11Z

Shueymg: Added 1 files to Etude (Shuey, Michael Gabriel Edouard)

{{#fte:imslppage

| *****AUDIO***** =
===Synthesized/MIDI===
{{#fte:imslpaudio
|File Name 1=PMLP1025153-Etude2_f25.mp3
|File Description 1=Playback of Etude
|Performers=Reproduction from software playback
|Performer Categories=
|Uploader=[[User:Shueymg|Shueymg]]
|Date Submitted=2020/7/31
|Publisher Information=Michael Shuey
|Copyright=Creative Commons Attribution-NonCommercial-NoDerivs 4.0
|Misc. Notes=
}}

| *****FILES***** =
{{#fte:imslpfile
|File Name 1=PMLP1025153-Etude2_f25_f2011fix.pdf
|File Description 1=Complete Score
|Editor=
|Image Type=New Composition
|Scanner=composer
|Uploader=[[User:Shueymg|Shueymg]]
|Date Submitted=2020/7/31
|Publisher Information=Michael Gabriel Edouard Shuey
|Copyright=Creative Commons Attribution-NonCommercial-NoDerivs 4.0
|Misc. Notes=A fiery piece built almost entirely with octaves
}}

| *****WORK INFO*****

|Work Title=Etude
|Alternative Title=Octave Etude 2
|Opus/Catalogue Number=
|Key={{key|g}}
|Movements Header=
|Number of Movements/Sections=
|Average Duration=2 minutes
|Dedication=
|First Performance=
|Year/Date of Composition=2002
|Year of First Publication=
|Librettist=
|Language=
|Piece Style=Romantic
|Extra Information=a fiery piece built almost entirely with octaves
|Instrumentation=piano

| *****COMMENTS***** =

I love octaves on the piano. I associate my love for octaves with a powerful “heavy” sound. Besides romantic classical music, heavy metal is my other favorite music. Octaves on a piano to me are akin to power chords on the electric guitar (even though power chords are fifths and octaves are, well … octaves).
I named this piece an Etude as a tribute the Chopin Etudes, or studies in English. I loved that Chopin’s Etudes always “featured” a particular technique or sound. Combining my love of octaves with Chopin’s Etudes, I had the idea to write a piece featuring octaves. This is actually the second piece I started featuring octaves (hence why this one is Octave 2). The first one is as of this writing still incomplete, and did not showcase the “power” of this one. When I put together outline of this piece, I was driven. I stopped working on the Other Octave Etude but do intend to come back to it.
Although fairly straightforward written on paper, this piece is one of the more technically challenging pieces I’ve written to play. The speed of the octaves, syncopation, and bringing out the dynamics using only octaves should give a challenge to many pianists. Because I was able to write the piece start to finish in such a short time, I’ve never played it myself smoothly at the speed it is written.
I wrote this in my senior year at university. My progression in piano and composition really were coming together at that point, which I identify as the main reason I was able to write this piece in only 2 days. It was by far record time for me. Writing efficiently felt like a bit of a capstone to my piano compositions, due to its complex sound and use of music theory to compose it.
With a little observation, one will note that I do break my own rule at a few times points in the piece. Contrary to the title, there is the occasional non-octave chord… I just couldn’t resist and felt some fuller chords at key moments were called for.

| *****END OF TEMPLATE***** }}

File:PMLP1025153-Etude2 f25.mp3

2020-07-31T02:36:10Z

Shueymg:

Etude (Shuey, Michael Gabriel Edouard)

2020-07-31T02:33:07Z

Shueymg: Added 1 files to Etude (Shuey, Michael Gabriel Edouard)

{{#fte:imslppage

| *****AUDIO***** =

| *****FILES***** =
{{#fte:imslpfile
|File Name 1=PMLP1025153-Etude2_f25_f2011fix.pdf
|File Description 1=Complete Score
|Editor=
|Image Type=New Composition
|Scanner=composer
|Uploader=[[User:Shueymg|Shueymg]]
|Date Submitted=2020/7/31
|Publisher Information=Michael Gabriel Edouard Shuey
|Copyright=Creative Commons Attribution-NonCommercial-NoDerivs 4.0
|Misc. Notes=A fiery piece built almost entirely with octaves
}}

| *****WORK INFO*****

|Work Title=Etude
|Alternative Title=Octave Etude 2
|Opus/Catalogue Number=
|Key={{key|g}}
|Movements Header=
|Number of Movements/Sections=
|Average Duration=2 minutes
|Dedication=
|First Performance=
|Year/Date of Composition=2002
|Year of First Publication=
|Librettist=
|Language=
|Piece Style=Romantic
|Extra Information=a fiery piece built almost entirely with octaves
|Instrumentation=piano

| *****COMMENTS***** =

I love octaves on the piano. I associate my love for octaves with a powerful “heavy” sound. Besides romantic classical music, heavy metal is my other favorite music. Octaves on a piano to me are akin to power chords on the electric guitar (even though power chords are fifths and octaves are, well … octaves).
I named this piece an Etude as a tribute the Chopin Etudes, or studies in English. I loved that Chopin’s Etudes always “featured” a particular technique or sound. Combining my love of octaves with Chopin’s Etudes, I had the idea to write a piece featuring octaves. This is actually the second piece I started featuring octaves (hence why this one is Octave 2). The first one is as of this writing still incomplete, and did not showcase the “power” of this one. When I put together outline of this piece, I was driven. I stopped working on the Other Octave Etude but do intend to come back to it.
Although fairly straightforward written on paper, this piece is one of the more technically challenging pieces I’ve written to play. The speed of the octaves, syncopation, and bringing out the dynamics using only octaves should give a challenge to many pianists. Because I was able to write the piece start to finish in such a short time, I’ve never played it myself smoothly at the speed it is written.
I wrote this in my senior year at university. My progression in piano and composition really were coming together at that point, which I identify as the main reason I was able to write this piece in only 2 days. It was by far record time for me. Writing efficiently felt like a bit of a capstone to my piano compositions, due to its complex sound and use of music theory to compose it.
With a little observation, one will note that I do break my own rule at a few times points in the piece. Contrary to the title, there is the occasional non-octave chord… I just couldn’t resist and felt some fuller chords at key moments were called for.

| *****END OF TEMPLATE***** }}

File:PMLP1025153-Etude2 f25 f2011fix.pdf

2020-07-31T02:33:06Z

Shueymg:

Etude (Shuey, Michael Gabriel Edouard)

2020-07-31T02:32:03Z

Shueymg: Create work

{{#fte:imslppage

| *****FILES***** =

| *****WORK INFO*****

|Work Title=Etude
|Alternative Title=Octave Etude 2
|Opus/Catalogue Number=
|Key={{key|g}}
|Movements Header=
|Number of Movements/Sections=
|Average Duration=2 minutes
|Dedication=
|First Performance=
|Year/Date of Composition=2002
|Year of First Publication=
|Librettist=
|Language=
|Piece Style=Romantic
|Extra Information=a fiery piece built almost entirely with octaves
|Instrumentation=piano

| *****COMMENTS***** =

I love octaves on the piano. I associate my love for octaves with a powerful “heavy” sound. Besides romantic classical music, heavy metal is my other favorite music. Octaves on a piano to me are akin to power chords on the electric guitar (even though power chords are fifths and octaves are, well … octaves).
I named this piece an Etude as a tribute the Chopin Etudes, or studies in English. I loved that Chopin’s Etudes always “featured” a particular technique or sound. Combining my love of octaves with Chopin’s Etudes, I had the idea to write a piece featuring octaves. This is actually the second piece I started featuring octaves (hence why this one is Octave 2). The first one is as of this writing still incomplete, and did not showcase the “power” of this one. When I put together outline of this piece, I was driven. I stopped working on the Other Octave Etude but do intend to come back to it.
Although fairly straightforward written on paper, this piece is one of the more technically challenging pieces I’ve written to play. The speed of the octaves, syncopation, and bringing out the dynamics using only octaves should give a challenge to many pianists. Because I was able to write the piece start to finish in such a short time, I’ve never played it myself smoothly at the speed it is written.
I wrote this in my senior year at university. My progression in piano and composition really were coming together at that point, which I identify as the main reason I was able to write this piece in only 2 days. It was by far record time for me. Writing efficiently felt like a bit of a capstone to my piano compositions, due to its complex sound and use of music theory to compose it.
With a little observation, one will note that I do break my own rule at a few times points in the piece. Contrary to the title, there is the occasional non-octave chord… I just couldn’t resist and felt some fuller chords at key moments were called for.

| *****END OF TEMPLATE***** }}

Feu Magnifique (Shuey, Michael Gabriel Edouard)

2020-07-24T03:52:48Z

Shueymg: Added 1 files to Feu Magnifique (Shuey, Michael Gabriel Edouard)

{{#fte:imslppage

| *****AUDIO***** =
===Synthesized/MIDI===
{{#fte:imslpaudio
|File Name 1=PMLP1023252-Feu_Magnifique_f25.mp3
|File Description 1=Playback of Feu Magnifique
|Performers=Reproduction from software playback
|Performer Categories=
|Uploader=[[User:Shueymg|Shueymg]]
|Date Submitted=2020/7/24
|Publisher Information=Michael Shuey
|Copyright=Creative Commons Attribution-NonCommercial-NoDerivs 4.0
|Misc. Notes=
}}

| *****FILES***** =
{{#fte:imslpfile
|File Name 1=PMLP1023252-Feu_Magnifique_f25.pdf
|File Description 1=Complete Score
|Editor=
|Image Type=New Composition
|Scanner=composer
|Uploader=[[User:Shueymg|Shueymg]]
|Date Submitted=2020/7/24
|Publisher Information=Michael Gabriel Edouard Shuey
|Copyright=Creative Commons Attribution-NonCommercial-NoDerivs 4.0
|Misc. Notes=fiery hand-over-hand arpeggios in a romantic style piano piece
}}

| *****WORK INFO*****

|Work Title=Feu Magnifique
|Alternative Title=
|Opus/Catalogue Number=
|Key={{key|c}}
|Movements Header=
|Number of Movements/Sections=
|Average Duration=6 minutes
|Dedication=
|First Performance=1999
|Year/Date of Composition=1999 ca.
|Year of First Publication=
|Librettist=
|Language=
|Piece Style=Romantic
|Extra Information=fiery hand-over-hand arpeggios
|Instrumentation=piano

| *****COMMENTS***** =

My second and third year at the University, I studied under a new composition teacher, Jason Wampler as my first composition instructor, Mark Volker graduated in the spring of 1998. Jason was quite a bit different than Mark. He was very down-to-earth, and brought a sense of exploration to our composition sessions. He also continued my theory development. Almost at random he’d give a lesson on something I hadn’t learned before like the Octatonic scale. I always appreciated that I was never embarrassed or ridiculed for my gross gap in theory compared to the other students.
Jason saw how much I loved playing around to make piano compositions. He challenged me to practice and complete one enough so that I could perform it at an upcoming composition recital with other students in the next quarter. I love a good challenge and I didn’t want to disappoint. I took a risk on committing to complete a piece that wasn’t even half done yet, but I loved its potential. I had a series of hand-over-hand runs, a style I practiced regularly as part of warm-ups. Adding in some full chords and filling in the runs with some up and down complexity, I came up with a “big” sound. In fact, “big” is what I called this piece for lack of a title for quite a while. Over a holiday break, I have written at the top of some of the original sheet music “big”, “big part deux” and “big part trois”, referring to the different sections of music. By the beginning of the Winter quarter, I had all the music sketched out (although it was never fully written into the computer until 2011!) and was intensely practicing.

The completed piece sounded very flashy with the runs, as well as very strong with some of the chord progressions. A somber middle section gave the piece some breathing room. The runs made me think of a whisking flame and the chords a crackling body. Looking at the hand written messages I wrote for whatever reason in French (I am half French after all!), I thought of the name “Feu Magnifique”, or Maginicant Fire only a few days before the scheduled recital date. Being half French as was Chopin, my piano idol, I felt a calling to not only have the title in French, but also some of the less standard music expressions.
I was a little nervous performing this piece in front of a live audience of at least 50 people at the Cincinnati College Conservatory of Music composition recital. What a thrill. The acoustics between the top-of the line double-sided Steinway and the hall was a new experience. It was a source of confidence to me, as it made me sound “better than I was”. Jason also had one of his compositions, “Trane to Jordan”, a repetitive and layered locomotive train sound as a tribute to two of his idols, John Coltrane and Michael Jordan. It was quite catchy, and I still remember the melody. The recital was recorded and I received a copy. Dr. Zierolf was in attendance and Jason asked him what he thought of my piece. “He’s a piano player isn’t he?” “A little rough between the transitions, but interesting”. Being 3 years after my recital in his office as an entrance exam to take music classes, he must not have remembered me or made the connection, but I was proud that he didn’t slam the piece as being too amateur. Jason later graduated, moved to China and grew more into Electronic Program Compositions, with pieces such as his work with Ryan Ingebristen “We Can and We Must”.

Following my composition recital, this composition became a bit of a show piece. I went to an engineering school ENSMA in France for my 4th year of University. I joined in a talent day at school, where the engineering students showed off different talent. Everything from stand-up comedy to juggling was done for the faculty and other students. I played one of the Chopin Etudes along with this composition. It was a hit. There is a video recording of me, “Le American”, running down the audience isle in sun-glasses as a star before playing. Great fun. I continued to keep this piece in my repertoire during the next several years. Somewhat because I liked it and it was flashy, but also because I hadn’t finished all the arranging and getting into the computer and I would have felt feel terrible if I forgot it. Playing it from time to time is what kept my finger memory active. It wouldn’t be until 2011 until I first got it all into the computer music notation and continued arranging up to the time of this publication in 2020.

| *****END OF TEMPLATE***** }}

File:PMLP1023252-Feu Magnifique f25.mp3

2020-07-24T03:52:47Z

Shueymg:

Feu Magnifique (Shuey, Michael Gabriel Edouard)

2020-07-24T03:51:07Z

Shueymg: Added 1 files to Feu Magnifique (Shuey, Michael Gabriel Edouard)

{{#fte:imslppage

| *****AUDIO***** =

| *****FILES***** =
{{#fte:imslpfile
|File Name 1=PMLP1023252-Feu_Magnifique_f25.pdf
|File Description 1=Complete Score
|Editor=
|Image Type=New Composition
|Scanner=composer
|Uploader=[[User:Shueymg|Shueymg]]
|Date Submitted=2020/7/24
|Publisher Information=Michael Gabriel Edouard Shuey
|Copyright=Creative Commons Attribution-NonCommercial-NoDerivs 4.0
|Misc. Notes=fiery hand-over-hand arpeggios in a romantic style piano piece
}}

| *****WORK INFO*****

|Work Title=Feu Magnifique
|Alternative Title=
|Opus/Catalogue Number=
|Key={{key|c}}
|Movements Header=
|Number of Movements/Sections=
|Average Duration=6 minutes
|Dedication=
|First Performance=1999
|Year/Date of Composition=1999 ca.
|Year of First Publication=
|Librettist=
|Language=
|Piece Style=Romantic
|Extra Information=fiery hand-over-hand arpeggios
|Instrumentation=piano

| *****COMMENTS***** =

My second and third year at the University, I studied under a new composition teacher, Jason Wampler as my first composition instructor, Mark Volker graduated in the spring of 1998. Jason was quite a bit different than Mark. He was very down-to-earth, and brought a sense of exploration to our composition sessions. He also continued my theory development. Almost at random he’d give a lesson on something I hadn’t learned before like the Octatonic scale. I always appreciated that I was never embarrassed or ridiculed for my gross gap in theory compared to the other students.
Jason saw how much I loved playing around to make piano compositions. He challenged me to practice and complete one enough so that I could perform it at an upcoming composition recital with other students in the next quarter. I love a good challenge and I didn’t want to disappoint. I took a risk on committing to complete a piece that wasn’t even half done yet, but I loved its potential. I had a series of hand-over-hand runs, a style I practiced regularly as part of warm-ups. Adding in some full chords and filling in the runs with some up and down complexity, I came up with a “big” sound. In fact, “big” is what I called this piece for lack of a title for quite a while. Over a holiday break, I have written at the top of some of the original sheet music “big”, “big part deux” and “big part trois”, referring to the different sections of music. By the beginning of the Winter quarter, I had all the music sketched out (although it was never fully written into the computer until 2011!) and was intensely practicing.

The completed piece sounded very flashy with the runs, as well as very strong with some of the chord progressions. A somber middle section gave the piece some breathing room. The runs made me think of a whisking flame and the chords a crackling body. Looking at the hand written messages I wrote for whatever reason in French (I am half French after all!), I thought of the name “Feu Magnifique”, or Maginicant Fire only a few days before the scheduled recital date. Being half French as was Chopin, my piano idol, I felt a calling to not only have the title in French, but also some of the less standard music expressions.
I was a little nervous performing this piece in front of a live audience of at least 50 people at the Cincinnati College Conservatory of Music composition recital. What a thrill. The acoustics between the top-of the line double-sided Steinway and the hall was a new experience. It was a source of confidence to me, as it made me sound “better than I was”. Jason also had one of his compositions, “Trane to Jordan”, a repetitive and layered locomotive train sound as a tribute to two of his idols, John Coltrane and Michael Jordan. It was quite catchy, and I still remember the melody. The recital was recorded and I received a copy. Dr. Zierolf was in attendance and Jason asked him what he thought of my piece. “He’s a piano player isn’t he?” “A little rough between the transitions, but interesting”. Being 3 years after my recital in his office as an entrance exam to take music classes, he must not have remembered me or made the connection, but I was proud that he didn’t slam the piece as being too amateur. Jason later graduated, moved to China and grew more into Electronic Program Compositions, with pieces such as his work with Ryan Ingebristen “We Can and We Must”.

Following my composition recital, this composition became a bit of a show piece. I went to an engineering school ENSMA in France for my 4th year of University. I joined in a talent day at school, where the engineering students showed off different talent. Everything from stand-up comedy to juggling was done for the faculty and other students. I played one of the Chopin Etudes along with this composition. It was a hit. There is a video recording of me, “Le American”, running down the audience isle in sun-glasses as a star before playing. Great fun. I continued to keep this piece in my repertoire during the next several years. Somewhat because I liked it and it was flashy, but also because I hadn’t finished all the arranging and getting into the computer and I would have felt feel terrible if I forgot it. Playing it from time to time is what kept my finger memory active. It wouldn’t be until 2011 until I first got it all into the computer music notation and continued arranging up to the time of this publication in 2020.

| *****END OF TEMPLATE***** }}

File:PMLP1023252-Feu Magnifique f25.pdf

2020-07-24T03:51:06Z

Shueymg:

Feu Magnifique (Shuey, Michael Gabriel Edouard)

2020-07-24T03:49:13Z

Shueymg:

{{#fte:imslppage

| *****FILES***** =

| *****WORK INFO*****

|Work Title=Feu Magnifique
|Alternative Title=
|Opus/Catalogue Number=
|Key={{key|c}}
|Movements Header=
|Number of Movements/Sections=
|Average Duration=6 minutes
|Dedication=
|First Performance=1999
|Year/Date of Composition=1999 ca.
|Year of First Publication=
|Librettist=
|Language=
|Piece Style=Romantic
|Extra Information=fiery hand-over-hand arpeggios
|Instrumentation=piano

| *****COMMENTS***** =

My second and third year at the University, I studied under a new composition teacher, Jason Wampler as my first composition instructor, Mark Volker graduated in the spring of 1998. Jason was quite a bit different than Mark. He was very down-to-earth, and brought a sense of exploration to our composition sessions. He also continued my theory development. Almost at random he’d give a lesson on something I hadn’t learned before like the Octatonic scale. I always appreciated that I was never embarrassed or ridiculed for my gross gap in theory compared to the other students.
Jason saw how much I loved playing around to make piano compositions. He challenged me to practice and complete one enough so that I could perform it at an upcoming composition recital with other students in the next quarter. I love a good challenge and I didn’t want to disappoint. I took a risk on committing to complete a piece that wasn’t even half done yet, but I loved its potential. I had a series of hand-over-hand runs, a style I practiced regularly as part of warm-ups. Adding in some full chords and filling in the runs with some up and down complexity, I came up with a “big” sound. In fact, “big” is what I called this piece for lack of a title for quite a while. Over a holiday break, I have written at the top of some of the original sheet music “big”, “big part deux” and “big part trois”, referring to the different sections of music. By the beginning of the Winter quarter, I had all the music sketched out (although it was never fully written into the computer until 2011!) and was intensely practicing.

The completed piece sounded very flashy with the runs, as well as very strong with some of the chord progressions. A somber middle section gave the piece some breathing room. The runs made me think of a whisking flame and the chords a crackling body. Looking at the hand written messages I wrote for whatever reason in French (I am half French after all!), I thought of the name “Feu Magnifique”, or Maginicant Fire only a few days before the scheduled recital date. Being half French as was Chopin, my piano idol, I felt a calling to not only have the title in French, but also some of the less standard music expressions.
I was a little nervous performing this piece in front of a live audience of at least 50 people at the Cincinnati College Conservatory of Music composition recital. What a thrill. The acoustics between the top-of the line double-sided Steinway and the hall was a new experience. It was a source of confidence to me, as it made me sound “better than I was”. Jason also had one of his compositions, “Trane to Jordan”, a repetitive and layered locomotive train sound as a tribute to two of his idols, John Coltrane and Michael Jordan. It was quite catchy, and I still remember the melody. The recital was recorded and I received a copy. Dr. Zierolf was in attendance and Jason asked him what he thought of my piece. “He’s a piano player isn’t he?” “A little rough between the transitions, but interesting”. Being 3 years after my recital in his office as an entrance exam to take music classes, he must not have remembered me or made the connection, but I was proud that he didn’t slam the piece as being too amateur. Jason later graduated, moved to China and grew more into Electronic Program Compositions, with pieces such as his work with Ryan Ingebristen “We Can and We Must”.

Following my composition recital, this composition became a bit of a show piece. I went to an engineering school ENSMA in France for my 4th year of University. I joined in a talent day at school, where the engineering students showed off different talent. Everything from stand-up comedy to juggling was done for the faculty and other students. I played one of the Chopin Etudes along with this composition. It was a hit. There is a video recording of me, “Le American”, running down the audience isle in sun-glasses as a star before playing. Great fun. I continued to keep this piece in my repertoire during the next several years. Somewhat because I liked it and it was flashy, but also because I hadn’t finished all the arranging and getting into the computer and I would have felt feel terrible if I forgot it. Playing it from time to time is what kept my finger memory active. It wouldn’t be until 2011 until I first got it all into the computer music notation and continued arranging up to the time of this publication in 2020.

| *****END OF TEMPLATE***** }}

Feu Magnifique (Shuey, Michael Gabriel Edouard)

2020-07-24T03:46:09Z

Shueymg: Create work

{{#fte:imslppage

| *****FILES***** =

| *****WORK INFO*****

|Work Title=Feu Magnifique
|Alternative Title=
|Opus/Catalogue Number=
|Key={{key|c}}
|Movements Header=
|Number of Movements/Sections=
|Average Duration=6 minutes
|Dedication=
|First Performance=1999
|Year/Date of Composition=1999 ca.
|Year of First Publication=
|Librettist=
|Language=
|Piece Style=Romantic
|Extra Information=fiery hand-over-hand arpeggios
|Instrumentation=piano

| *****COMMENTS***** =

My second and third year at the University, I studied under a new composition teacher, Jason Wampler as my first composition instructor, Mark Volker graduated in the spring of 1998. Jason was quite a bit different than Mark. He was very down-to-earth, and brought a sense of exploration to our composition sessions. He also continued my theory development. Almost at random he’d give a lesson on something I hadn’t learned before like the Octatonic scale. I always appreciated that I was never embarrassed or ridiculed for my gross gap in theory compared to the other students.
Jason saw how much I loved playing around to make piano compositions. He challenged me to practice and complete one enough so that I could perform it at an upcoming composition recital with other students in the next quarter. I love a good challenge and I didn’t want to disappoint. I took a risk on committing to complete a piece that wasn’t even half done yet, but I loved its potential. I had a series of hand-over-hand runs, a style I practiced regularly as part of warm-ups. Adding in some full chords and filling in the runs with some up and down complexity, I came up with a “big” sound. In fact, “big” is what I called this piece for lack of a title for quite a while. Over a holiday break, I have written at the top of some of the original sheet music “big”, “big part deux” and “big part trois”, referring to the different sections of music. By the beginning of the Winter quarter, I had all the music sketched out (although it was never fully written into the computer until 2011!) and was intensely practicing.

The completed piece sounded very flashy with the runs, as well as very strong with some of the chord progressions. A somber middle section gave the piece some breathing room. The runs made me think of a whisking flame and the chords a crackling body. Looking at the hand written messages I wrote for whatever reason in French (I am half French after all!), I thought of the name “Feu Magnifique”, or Maginicant Fire only a few days before the scheduled recital date. Being half French as was Chopin, my piano idol, I felt a calling to not only have the title in French, but also some of the less standard music expressions.
I was a little nervous performing this piece in front of a live audience of at least 50 people at the Cincinnati College Conservatory of Music composition recital. What a thrill. The acoustics between the top-of the line double-sided Steinway and the hall was a new experience. It was a source of confidence to me, as it made me sound “better than I was”. Jason also had one of his compositions, “Trane to Jordan”, a repetitive and layered locomotive train sound as a tribute to two of his idols, John Coltrane and Michael Jordan. It was quite catchy, and I still remember the melody. The recital was recorded and I received a copy. Dr. Zierolf was in attendance and Jason asked him what he thought of my piece. “He’s a piano player isn’t he?” “A little rough between the transitions, but interesting”. Being 3 years after my recital in his office as an entrance exam to take music classes, he must not have remembered me or made the connection, but I was proud that he didn’t slam the piece as being too amateur. Jason later graduated, moved to China and grew more into Electronic Program Compositions, with pieces such as his work with Ryan Ingebristen “We Can and We Must”.

Following my composition recital, this composition became a bit of a show piece. I went to an engineering school ENSMA in France for my 4th year of University. I joined in a talent day at school, where the engineering students showed off different talent. Everything from stand-up comedy to juggling was done for the faculty and other students. I played one of the Chopin Etudes along with this composition. It was a hit. There is a video recording of me, “Le American”, running down the audience isle in sun-glasses as a star before playing. Great fun. I continued to keep this piece in my repertoire during the next several years. Somewhat because I liked it and it was flashy, but also because I hadn’t finished all the arranging and getting into the computer and I would have felt feel terrible if I forgot it. Playing it from time to time is what kept my finger memory active. It wouldn’t be until 2011 until I first got it all into the computer music notation and continues arranging up to the time of this publication in 2020.

| *****END OF TEMPLATE***** }}

Prelude in C-sharp minor (Shuey, Michael Gabriel Edouard)

2020-06-19T15:11:33Z

Shueymg:

{{#fte:imslppage

| *****AUDIO***** =
===Synthesized/MIDI===
{{#fte:imslpaudio
|File Name 1=PMLP1014448-prelude_f2014_v2.mp3
|File Description 1=Synthesized Performance
|Performers=Reproduction from software playback
|Performer Categories=
|Uploader=[[User:Shueymg|Shueymg]]
|Date Submitted=2020/6/19
|Publisher Information=Michael Shuey
|Copyright=Creative Commons Attribution-NonCommercial-NoDerivs 4.0
|Misc. Notes=
}}

| *****FILES***** =
{{#fte:imslpfile
|File Name 1=PMLP1014448-prelude_f2014_for_print.pdf
|File Description 1=Complete Score
|Editor=
|Image Type=New Composition
|Scanner=composer
|Uploader=[[User:Shueymg|Shueymg]]
|Date Submitted=2020/6/19
|Publisher Information=Michael Gabriel Edouard Shuey
|Copyright=Creative Commons Attribution-NonCommercial-NoDerivs 4.0
|Misc. Notes=challenging right-hand runs, heavy rubato, several double-sharps
}}

| *****WORK INFO*****

|Work Title=Prelude in C-sharp minor
|Alternative Title=
|Opus/Catalogue Number=
|Key={{key|c#}}
|Movements Header=
|Number of Movements/Sections=
|Average Duration=4 minutes
|Dedication=
|First Performance=
|Year/Date of Composition=1996-97
|Year of First Publication=
|Librettist=
|Language=
|Piece Style=Romantic
|Instrumentation=piano

| *****COMMENTS***** =

This piece was inspired by Chopin’s Fantasie Impromptu. While I knew I wouldn’t compose anything to that caliber, I wanted to make my own tribute to that piece by composing something with dazzling right-hand runs. So in effect, this piece was born out of trying to improve my right hand both from a composing and playing stand-point.

Composing this piece felt like a burden at times. I have painful memories of continually getting “stuck” in an endless loop of the main motif. This agony was dragged out for over 9-months, right from high-school into University. Getting out of the loop would take some growing in my music. My University education helped with that. One of the best decisions I felt I ever made was going to school at the University of Cincinnati. While I could have been accepted into slightly more prestigious engineering schools, I chose UC for 2 main reasons: 1) The mandatory internship co-op program which helped pay back college tuition and 2) The best-in class music school in the region. My father also saw the potential here. When visiting UC, we made sure to take a thorough walk through the College Conservatory of Music (CCM). I am grateful that he helped hunt down department heads in both the piano and composition departments.

Being accepted into taking music classes from CCM took special permission. Special permission meant an audition. I played for Dr. Robert Zierolf. I selected a Chopin prelude I felt I knew well (based on advice from my piano teacher), as well as this composition I was working on, which I was stuck on. He quite easily saw through my “unclean” upbringing in piano, even after playing my “cleanest” Chopin piece. He was, to my favor, intrigued by my compositions. He thought that work in both piano and composition was worthwhile and accepted me, much to my delight. From that point on I took 2-credit hour piano and 2-credit hour composition classes throughout college and never looked back. Personal music lessons from graduate students turned out to be both easy A’s and a wonderful escape from the drudgery of engineering.
My first composition teacher, was music composition PhD student and classical guitarist Mark Volker. Mark pushed me to “just write”, and helped build up some embarrassingly lacking music theory. After a few months the help proved to be the cure to my musical creative impasse and break free from the do-loop. Each time I had an idea for where to go next, Mark gave encouraging feedback, and welcoming guidance. More than anything, he broke down my fear of putting pencil to paper, as up to this point I was still reliant on my piano teacher in highschool for assistance. Last I looked, Mark moved on to be the Coordinator of Composition and Assistant Professor of Music at the Belmont University School of Music.

The entire middle section to the end was written while at CCM. Like the Impromptu in G-minor I brought out a left-hand melody at the beginning of the calmer pause before making my way back to the main motif. More than two-thirds of the piece written was written in only one-third the time since beginning spent. I appreciated the growth and efficiency from my musical composition sessions, using theory and instinct to stitch together some of the sections and get it written down.

| *****END OF TEMPLATE***** }}

Prelude in C-sharp minor (Shuey, Michael Gabriel Edouard)

2020-06-19T15:10:57Z

Shueymg:

{{#fte:imslppage

| *****AUDIO***** =
===Synthesized/MIDI===
{{#fte:imslpaudio
|File Name 1=PMLP1014448-prelude_f2014_v2.mp3
|File Description 1=Synthesized Performance
|Performers=Reproduction from software playback
|Performer Categories=
|Uploader=[[User:Shueymg|Shueymg]]
|Date Submitted=2020/6/19
|Publisher Information=Michael Shuey
|Copyright=Creative Commons Attribution-NonCommercial-NoDerivs 4.0
|Misc. Notes=
}}

| *****FILES***** =
{{#fte:imslpfile
|File Name 1=PMLP1014448-prelude_f2014_for_print.pdf
|File Description 1=Complete Score
|Editor=
|Image Type=New Composition
|Scanner=composer
|Uploader=[[User:Shueymg|Shueymg]]
|Date Submitted=2020/6/19
|Publisher Information=Michael Gabriel Edouard Shuey
|Copyright=Creative Commons Attribution-NonCommercial-NoDerivs 4.0
|Misc. Notes=challenging right-hand runs, heavy rubato, several double-sharps
}}

| *****WORK INFO*****

|Work Title=Prelude in C-sharp minor
|Alternative Title=
|Opus/Catalogue Number=
|Key={{key|c#}}
|Movements Header=
|Number of Movements/Sections=
|Average Duration=4 minutes
|Dedication=
|First Performance=
|Year/Date of Composition=1996-97
|Year of First Publication=
|Librettist=
|Language=
|Piece Style=Romantic
|Instrumentation=piano

| *****COMMENTS***** =

This piece was inspired by Chopin’s Fantasy-Impromptu. While I knew I wouldn’t compose anything to that caliber, I wanted to make my own tribute to that piece by composing something with dazzling right-hand runs. So in effect, this piece was born out of trying to improve my right hand both from a composing and playing stand-point.

Composing this piece felt like a burden at times. I have painful memories of continually getting “stuck” in an endless loop of the main motif. This agony was dragged out for over 9-months, right from high-school into University. Getting out of the loop would take some growing in my music. My University education helped with that. One of the best decisions I felt I ever made was going to school at the University of Cincinnati. While I could have been accepted into slightly more prestigious engineering schools, I chose UC for 2 main reasons: 1) The mandatory internship co-op program which helped pay back college tuition and 2) The best-in class music school in the region. My father also saw the potential here. When visiting UC, we made sure to take a thorough walk through the College Conservatory of Music (CCM). I am grateful that he helped hunt down department heads in both the piano and composition departments.

Being accepted into taking music classes from CCM took special permission. Special permission meant an audition. I played for Dr. Robert Zierolf. I selected a Chopin prelude I felt I knew well (based on advice from my piano teacher), as well as this composition I was working on, which I was stuck on. He quite easily saw through my “unclean” upbringing in piano, even after playing my “cleanest” Chopin piece. He was, to my favor, intrigued by my compositions. He thought that work in both piano and composition was worthwhile and accepted me, much to my delight. From that point on I took 2-credit hour piano and 2-credit hour composition classes throughout college and never looked back. Personal music lessons from graduate students turned out to be both easy A’s and a wonderful escape from the drudgery of engineering.
My first composition teacher, was music composition PhD student and classical guitarist Mark Volker. Mark pushed me to “just write”, and helped build up some embarrassingly lacking music theory. After a few months the help proved to be the cure to my musical creative impasse and break free from the do-loop. Each time I had an idea for where to go next, Mark gave encouraging feedback, and welcoming guidance. More than anything, he broke down my fear of putting pencil to paper, as up to this point I was still reliant on my piano teacher in highschool for assistance. Last I looked, Mark moved on to be the Coordinator of Composition and Assistant Professor of Music at the Belmont University School of Music.

The entire middle section to the end was written while at CCM. Like the Impromptu in G-minor I brought out a left-hand melody at the beginning of the calmer pause before making my way back to the main motif. More than two-thirds of the piece written was written in only one-third the time since beginning spent. I appreciated the growth and efficiency from my musical composition sessions, using theory and instinct to stitch together some of the sections and get it written down.

| *****END OF TEMPLATE***** }}

Prelude in C-sharp minor (Shuey, Michael Gabriel Edouard)

2020-06-19T02:53:59Z

Shueymg:

{{#fte:imslppage

| *****AUDIO***** =
===Synthesized/MIDI===
{{#fte:imslpaudio
|File Name 1=PMLP1014448-prelude_f2014_v2.mp3
|File Description 1=Playback of Prelude in C-sharp minor
|Performers=Reproduction from software playback
|Performer Categories=
|Uploader=[[User:Shueymg|Shueymg]]
|Date Submitted=2020/6/19
|Publisher Information=Michael Shuey
|Copyright=Creative Commons Attribution-NonCommercial-NoDerivs 4.0
|Misc. Notes=
}}

| *****FILES***** =
{{#fte:imslpfile
|File Name 1=PMLP1014448-prelude_f2014_for_print.pdf
|File Description 1=Complete Score
|Editor=
|Image Type=New Composition
|Scanner=composer
|Uploader=[[User:Shueymg|Shueymg]]
|Date Submitted=2020/6/19
|Publisher Information=Michael Gabriel Edouard Shuey
|Copyright=Creative Commons Attribution-NonCommercial-NoDerivs 4.0
|Misc. Notes=challenging right-hand runs, heavy rubato, several double-sharps
}}

| *****WORK INFO*****

|Work Title=Prelude in C-sharp minor
|Alternative Title=
|Opus/Catalogue Number=
|Key={{key|c#}}
|Movements Header=
|Number of Movements/Sections=
|Average Duration=4 minutes
|Dedication=
|First Performance=
|Year/Date of Composition=1996-97
|Year of First Publication=
|Librettist=
|Language=
|Piece Style=Romantic
|Instrumentation=piano

| *****COMMENTS***** =

This piece was inspired by Chopin’s Fantasy-Impromptu. While I knew I wouldn’t compose anything to that caliber, I wanted to make my own tribute to that piece by composing something with dazzling right-hand runs. So in effect, this piece was born out of trying to improve my right hand both from a composing and playing stand-point.

Composing this piece felt like a burden at times. I have painful memories of continually getting “stuck” in an endless loop of the main motif. This agony was dragged out for over 9-months, right from high-school into University. Getting out of the loop would take some growing in my music. My University education helped with that. One of the best decisions I felt I ever made was going to school at the University of Cincinnati. While I could have been accepted into slightly more prestigious engineering schools, I chose UC for 2 main reasons: 1) The mandatory internship co-op program which helped pay back college tuition and 2) The best-in class music school in the region. My father also saw the potential here. When visiting UC, we made sure to take a thorough walk through the College Conservatory of Music (CCM). I am grateful that he helped hunt down department heads in both the piano and composition departments.

Being accepted into taking music classes from CCM took special permission. Special permission meant an audition. I played for Dr. Robert Zierolf. I selected a Chopin prelude I felt I knew well (based on advice from my piano teacher), as well as this composition I was working on, which I was stuck on. He quite easily saw through my “unclean” upbringing in piano, even after playing my “cleanest” Chopin piece. He was, to my favor, intrigued by my compositions. He thought that work in both piano and composition was worthwhile and accepted me, much to my delight. From that point on I took 2-credit hour piano and 2-credit hour composition classes throughout college and never looked back. Personal music lessons from graduate students turned out to be both easy A’s and a wonderful escape from the drudgery of engineering.
My first composition teacher, was PhD student and classical guitarist Mark Volker. Mark pushed me to “just write”, and helped build up some embarrassingly lacking music theory. After a few months the help proved to be the cure to my musical creative impasse and break free from the do-loop. Each time I had an idea for where to go next, Mark gave encouraging feedback, and welcoming guidance. More than anything, he broke down my fear of putting pencil to paper, as up to this point I was still reliant on my piano teacher in highschool for assistance. Last I looked, Mark moved on to be the Coordinator of Composition and Assistant Professor of Music at the Belmont University School of Music.

The entire middle section to the end was written while at CCM. Like the Impromptu in G-minor I brought out a left-hand melody at the beginning of the calmer pause before making my way back to the main motif. More than two-thirds of the piece written was written in only one-third the time since beginning spent. I appreciated the growth and efficiency from my musical composition sessions, using theory and instinct to stitch together some of the sections and get it written down.

| *****END OF TEMPLATE***** }}

Prelude in C-sharp minor (Shuey, Michael Gabriel Edouard)

2020-06-19T02:48:27Z

Shueymg:

{{#fte:imslppage

| *****AUDIO***** =
===Synthesized/MIDI===
{{#fte:imslpaudio
|File Name 1=PMLP1014448-prelude_f2014_v2.mp3
|File Description 1=Playback of Prelude in C-sharp minor
|Performers=Reproduction from software playback
|Performer Categories=
|Uploader=[[User:Shueymg|Shueymg]]
|Date Submitted=2020/6/19
|Publisher Information=Michael Shuey
|Copyright=Creative Commons Attribution-NonCommercial-NoDerivs 4.0
|Misc. Notes=
}}

| *****FILES***** =
{{#fte:imslpfile
|File Name 1=PMLP1014448-prelude_f2014_for_print.pdf
|File Description 1=Complete Score
|Editor=
|Image Type=New Composition
|Scanner=composer
|Uploader=[[User:Shueymg|Shueymg]]
|Date Submitted=2020/6/19
|Publisher Information=Michael Gabriel Edouard Shuey
|Copyright=Creative Commons Attribution-NonCommercial-NoDerivs 4.0
|Misc. Notes=challenging right-hand runs, heavy rubato, several double-sharps
}}

| *****WORK INFO*****

|Work Title=Prelude in C-sharp minor
|Alternative Title=
|Opus/Catalogue Number=
|Key={{key|c#}}
|Movements Header=
|Number of Movements/Sections=
|Average Duration=4 minutes
|Dedication=
|First Performance=
|Year/Date of Composition=1996-97
|Year of First Publication=
|Librettist=
|Language=
|Piece Style=Romantic
|Instrumentation=piano

| *****COMMENTS***** =

This piece was inspired by Chopin’s Fantasy-Impromptu. While I knew I wouldn’t compose anything to that caliber, I wanted to make my own tribute to that piece by composing something with dazzling right-hand runs. So in effect, this piece was born out of trying to improve my right hand both from a composing and playing stand-point.

Composing this piece felt like a burden at times. I have painful memories of continually getting “stuck” in an endless loop of the main motif. This agony was dragged out for over 9-months, right from high-school into University. Getting out of the loop would take some growing in my music. My University education helped with that. One of the best decisions I felt I ever made was going to school at the University of Cincinnati. While I could have been accepted into slightly more prestigious engineering schools, I chose UC for 2 main reasons: 1) The mandatory internship co-op program which helped pay back college tuition and 2) The best-in class music school in the region. My father also saw the potential here. When visiting UC, we made sure to take a thorough walk through the College Conservatory of Music (CCM). I am grateful that he helped hunt down department heads in both the piano and composition departments.

Being accepted into taking music classes from CCM took special permission. Special permission meant an audition. I played for Dr. Robert Zierolf. I selected a Chopin prelude I felt I knew well (based on advice from my piano teacher), as well as this composition I was working on, which I was stuck on. He quite easily saw through my “unclean” upbringing in piano, even after playing my “cleanest” Chopin piece. He was, to my favor, intrigued by my compositions. He thought that work in both piano and composition was worthwhile and accepted me, much to my delight. From that point on I took 2-credit hour piano and 2-credit hour composition classes throughout college and never looked back. Personal music lessons from graduate students turned out to be both easy A’s and a wonderful escape from the drudgery of engineering.
My first composition teacher, was PhD student and classical guitarist Mark Volker. Mark pushed me to “just write”, and helped build up some embarrassingly lacking music theory. After a few months the help proved to be the cure to my musical creative impasse and break free from the do-loop. Each time I had an idea for where to go next, Mark gave encouraging feedback, and welcoming guidance. More than anything, he broke down my fear of putting pencil to paper, as up to this point I was still reliant on my piano teacher in highschool for assistance. Last I looked, Mark moved on to be the Coordinator of Composition and Assistant Professor of Music at the Belmont University School of Music.

The entire middle section to the end was written while at CCM. It turned out to be two-thirds of the piece written in only one-third the time since beginning the piece. I appreciated the growth and efficiency from my musical sessions, using theory and instinct to stitch together some of the sections and get it written down.

| *****END OF TEMPLATE***** }}

Prelude in C-sharp minor (Shuey, Michael Gabriel Edouard)

2020-06-19T02:47:03Z

Shueymg: Added 1 files to Prelude in C-sharp minor (Shuey, Michael Gabriel Edouard)

{{#fte:imslppage

| *****AUDIO***** =
===Synthesized/MIDI===
{{#fte:imslpaudio
|File Name 1=PMLP1014448-prelude_f2014_v2.mp3
|File Description 1=Playback of Prelude in C-sharp minor
|Performers=Reproduction from software playback
|Performer Categories=
|Uploader=[[User:Shueymg|Shueymg]]
|Date Submitted=2020/6/19
|Publisher Information=Michael Shuey
|Copyright=Creative Commons Attribution-NonCommercial-NoDerivs 4.0
|Misc. Notes=
}}

| *****FILES***** =
{{#fte:imslpfile
|File Name 1=PMLP1014448-prelude_f2014_for_print.pdf
|File Description 1=Complete Score
|Editor=
|Image Type=New Composition
|Scanner=composer
|Uploader=[[User:Shueymg|Shueymg]]
|Date Submitted=2020/6/19
|Publisher Information=Michael Gabriel Edouard Shuey
|Copyright=Creative Commons Attribution-NonCommercial-NoDerivs 4.0
|Misc. Notes=challenging right-hand runs, heavy rubato, several double-sharps
}}

| *****WORK INFO*****

|Work Title=Prelude in C-sharp minor
|Alternative Title=
|Opus/Catalogue Number=
|Key={{key|c#}}
|Movements Header=
|Number of Movements/Sections=
|Average Duration=4 minutes
|Dedication=
|First Performance=
|Year/Date of Composition=1996-97
|Year of First Publication=
|Librettist=
|Language=
|Piece Style=Romantic
|Instrumentation=piano

| *****COMMENTS***** =

This piece was inspired by Chopin’s Fantasy-Impromptu. While I knew I wouldn’t compose anything to that caliber, I wanted to make my own tribute to that piece by composing something with dazzling right-hand runs. So in effect, this piece was born out of trying to improve my right hand both from a composing and playing stand-point.

Composing this piece felt like a burden at times. I have painful memories of continually getting “stuck” in an endless loop of the main motif. This agony was dragged out for over 9-months, right from high-school into University. Getting out of the loop would take some growing in my music. My University education helped with that. One of the best decisions I felt I ever made was going to school at the University of Cincinnati. While I could have been accepted into slightly more prestigious engineering schools, I chose UC for 2 main reasons: 1) The mandatory internship co-op program which helped pay back college tuition and 2) The best-in class music school in the region. My father also saw the potential here. When visiting UC, we made sure to take a thorough walk through the College Conservatory of Music (CCM). I am grateful that he helped hunt down department heads in both the piano and composition departments.

Being accepted into taking music classes from CCM took special permission. Special permission meant an audition. I played for Dr. Robert Zierolf. I selected a Chopin prelude I felt I knew well (based on advice from my piano teacher), as well as this composition I was working on, which I was stuck on. He quite easily saw through my “unclean” upbringing in piano, even after playing my “cleanest” Chopin piece. He was, to my favor, intrigued by my compositions. He thought that work in both piano and composition was worthwhile and accepted me, much to my delight. From that point on I took 2-credit hour piano and 2-credit hour composition classes throughout college and never looked back. Personal music lessons from graduate students turned out to be both easy A’s and a wonderful escape from the drudgery of engineering.
My first composition teacher, was PhD student and classical guitarist Mark Volker. Mark pushed me to “just write”, and helped build up some embarrassingly lacking music theory. After a few months the help proved to be the cure to my musical creative impasse and break free from the do-loop. Each time I had an idea for where to go next, Mark gave encouraging feedback, and welcoming guidance. More than anything, he broke down my fear of putting pencil to paper, as up to this point I was still reliant on my piano teacher in highschool for assistance. Last I looked, Mark moved onto be the Coordinator of Composition and Assistant Professor of Music at the Belmont University School of Music.

The entire middle section to the end was written while at CCM. It turned out to be two-thirds of the piece written in only one-third the time since beginning the piece. I appreciated the growth and efficiency from my musical sessions, using theory and instinct to stitch together some of the sections and get it written down.

| *****END OF TEMPLATE***** }}

File:PMLP1014448-prelude f2014 v2.mp3

2020-06-19T02:47:02Z

Shueymg:

Prelude in C-sharp minor (Shuey, Michael Gabriel Edouard)

2020-06-19T02:45:32Z

Shueymg: Added 1 files to Prelude in C-sharp minor (Shuey, Michael Gabriel Edouard)

{{#fte:imslppage

| *****AUDIO***** =

| *****FILES***** =
{{#fte:imslpfile
|File Name 1=PMLP1014448-prelude_f2014_for_print.pdf
|File Description 1=Complete Score
|Editor=
|Image Type=New Composition
|Scanner=composer
|Uploader=[[User:Shueymg|Shueymg]]
|Date Submitted=2020/6/19
|Publisher Information=Michael Gabriel Edouard Shuey
|Copyright=Creative Commons Attribution-NonCommercial-NoDerivs 4.0
|Misc. Notes=challenging right-hand runs, heavy rubato, several double-sharps
}}

| *****WORK INFO*****

|Work Title=Prelude in C-sharp minor
|Alternative Title=
|Opus/Catalogue Number=
|Key={{key|c#}}
|Movements Header=
|Number of Movements/Sections=
|Average Duration=4 minutes
|Dedication=
|First Performance=
|Year/Date of Composition=1996-97
|Year of First Publication=
|Librettist=
|Language=
|Piece Style=Romantic
|Instrumentation=piano

| *****COMMENTS***** =

This piece was inspired by Chopin’s Fantasy-Impromptu. While I knew I wouldn’t compose anything to that caliber, I wanted to make my own tribute to that piece by composing something with dazzling right-hand runs. So in effect, this piece was born out of trying to improve my right hand both from a composing and playing stand-point.

Composing this piece felt like a burden at times. I have painful memories of continually getting “stuck” in an endless loop of the main motif. This agony was dragged out for over 9-months, right from high-school into University. Getting out of the loop would take some growing in my music. My University education helped with that. One of the best decisions I felt I ever made was going to school at the University of Cincinnati. While I could have been accepted into slightly more prestigious engineering schools, I chose UC for 2 main reasons: 1) The mandatory internship co-op program which helped pay back college tuition and 2) The best-in class music school in the region. My father also saw the potential here. When visiting UC, we made sure to take a thorough walk through the College Conservatory of Music (CCM). I am grateful that he helped hunt down department heads in both the piano and composition departments.

Being accepted into taking music classes from CCM took special permission. Special permission meant an audition. I played for Dr. Robert Zierolf. I selected a Chopin prelude I felt I knew well (based on advice from my piano teacher), as well as this composition I was working on, which I was stuck on. He quite easily saw through my “unclean” upbringing in piano, even after playing my “cleanest” Chopin piece. He was, to my favor, intrigued by my compositions. He thought that work in both piano and composition was worthwhile and accepted me, much to my delight. From that point on I took 2-credit hour piano and 2-credit hour composition classes throughout college and never looked back. Personal music lessons from graduate students turned out to be both easy A’s and a wonderful escape from the drudgery of engineering.
My first composition teacher, was PhD student and classical guitarist Mark Volker. Mark pushed me to “just write”, and helped build up some embarrassingly lacking music theory. After a few months the help proved to be the cure to my musical creative impasse and break free from the do-loop. Each time I had an idea for where to go next, Mark gave encouraging feedback, and welcoming guidance. More than anything, he broke down my fear of putting pencil to paper, as up to this point I was still reliant on my piano teacher in highschool for assistance. Last I looked, Mark moved onto be the Coordinator of Composition and Assistant Professor of Music at the Belmont University School of Music.

The entire middle section to the end was written while at CCM. It turned out to be two-thirds of the piece written in only one-third the time since beginning the piece. I appreciated the growth and efficiency from my musical sessions, using theory and instinct to stitch together some of the sections and get it written down.

| *****END OF TEMPLATE***** }}

File:PMLP1014448-prelude f2014 for print.pdf

2020-06-19T02:45:26Z

Shueymg:

Prelude in C-sharp minor (Shuey, Michael Gabriel Edouard)

2020-06-19T02:37:51Z

Shueymg: Create work

{{#fte:imslppage

| *****FILES***** =

| *****WORK INFO*****

|Work Title=Prelude in C-sharp minor
|Alternative Title=
|Opus/Catalogue Number=
|Key={{key|c#}}
|Movements Header=
|Number of Movements/Sections=
|Average Duration=4 minutes
|Dedication=
|First Performance=
|Year/Date of Composition=1996-97
|Year of First Publication=
|Librettist=
|Language=
|Piece Style=Romantic
|Instrumentation=piano

| *****COMMENTS***** =

This piece was inspired by Chopin’s Fantasy-Impromptu. While I knew I wouldn’t compose anything to that caliber, I wanted to make my own tribute to that piece by composing something with dazzling right-hand runs. So in effect, this piece was born out of trying to improve my right hand both from a composing and playing stand-point.

Composing this piece felt like a burden at times. I have painful memories of continually getting “stuck” in an endless loop of the main motif. This agony was dragged out for over 9-months, right from high-school into University. Getting out of the loop would take some growing in my music. My University education helped with that. One of the best decisions I felt I ever made was going to school at the University of Cincinnati. While I could have been accepted into slightly more prestigious engineering schools, I chose UC for 2 main reasons: 1) The mandatory internship co-op program which helped pay back college tuition and 2) The best-in class music school in the region. My father also saw the potential here. When visiting UC, we made sure to take a thorough walk through the College Conservatory of Music (CCM). I am grateful that he helped hunt down department heads in both the piano and composition departments.

Being accepted into taking music classes from CCM took special permission. Special permission meant an audition. I played for Dr. Robert Zierolf. I selected a Chopin prelude I felt I knew well (based on advice from my piano teacher), as well as this composition I was working on, which I was stuck on. He quite easily saw through my “unclean” upbringing in piano, even after playing my “cleanest” Chopin piece. He was, to my favor, intrigued by my compositions. He thought that work in both piano and composition was worthwhile and accepted me, much to my delight. From that point on I took 2-credit hour piano and 2-credit hour composition classes throughout college and never looked back. Personal music lessons from graduate students turned out to be both easy A’s and a wonderful escape from the drudgery of engineering.
My first composition teacher, was PhD student and classical guitarist Mark Volker. Mark pushed me to “just write”, and helped build up some embarrassingly lacking music theory. After a few months the help proved to be the cure to my musical creative impasse and break free from the do-loop. Each time I had an idea for where to go next, Mark gave encouraging feedback, and welcoming guidance. More than anything, he broke down my fear of putting pencil to paper, as up to this point I was still reliant on my piano teacher in highschool for assistance. Last I looked, Mark moved onto be the Coordinator of Composition and Assistant Professor of Music at the Belmont University School of Music.

The entire middle section to the end was written while at CCM. It turned out to be two-thirds of the piece written in only one-third the time since beginning the piece. I appreciated the growth and efficiency from my musical sessions, using theory and instinct to stitch together some of the sections and get it written down.

| *****END OF TEMPLATE***** }}

File:PMLP1010011-Impromptu in G-minor.mp3

2020-06-01T02:11:55Z

Shueymg:

Impromptu in G minor (Shuey, Michael Gabriel Edouard)

2020-06-01T02:11:55Z

Shueymg: Added 1 files to Impromptu in G minor (Shuey, Michael Gabriel Edouard)

{{#fte:imslppage

| *****AUDIO***** =
===Synthesized/MIDI===
{{#fte:imslpaudio
|File Name 1=PMLP1010011-Impromptu_in_G-minor.mp3
|File Description 1=Playback of Impromptu in G-minor
|Performers=Reproduction from software playback
|Performer Categories=
|Uploader=[[User:Shueymg|Shueymg]]
|Date Submitted=2020/6/1
|Publisher Information=Michael Shuey
|Copyright=Creative Commons Attribution-NonCommercial-NoDerivs 4.0
|Misc. Notes=
}}

| *****FILES***** =
{{#fte:imslpfile
|File Name 1=PMLP1010011-Impromtpu_f2014.pdf
|File Description 1=Complete Score
|Editor=
|Image Type=New Composition
|Scanner=composer
|Uploader=[[User:Shueymg|Shueymg]]
|Date Submitted=2020/6/1
|Publisher Information=Michael Gabriel Edouard Shuey
|Copyright=Creative Commons Attribution-NonCommercial-NoDerivs 4.0
|Misc. Notes=left hand melody, epic sound
}}

| *****WORK INFO*****

|Work Title=Impromptu in G minor
|Alternative Title=
|Opus/Catalogue Number=
|Key={{key|g}}
|Movements Header=
|Number of Movements/Sections=
|Average Duration=6.5 minutes
|Dedication=
|First Performance=
|Year/Date of Composition=1996-97
|Year of First Publication=
|Librettist=
|Language=
|Piece Style=Romantic
|Instrumentation=piano

| *****COMMENTS***** =

By 1996 my piano and music theory ability began to develop. Discovering Chopin completely changed my style of preferred music to learn and my style of composition. After I began learning Chopin Preludes and Polonaises, I wanted to create a longer, and more epic sounding piece. The Impromptu in G-minor became that piece. At six and a half minutes long in length, the piece remains the longest I’ve ever written. Contrary to the name, the piece took me over 6-months to write and was indeed “calculated” in some areas. The name really came as a tribute to the Chopin style of listing great pieces simply as an Impromptu, a Prelude, an Etude, etc. Also as a tribute my composition style which born out of playing impromptu on the piano, inventing melodies and harmonies on the fly and eventually settling on something to write down.
My favorite memory writing this piece was in high school detention. I wasn’t really a “bad” kid in school; just a tired one. I have never been a morning person and always stayed up way past any bed time. The accumulating sleep deprivation for a teenager led to several episodes of sleeping through an alarm clock, missing the school bus, and begging a parent to bring me to school with an excuse note. The school had a tardy policy whereby a certain amount of tardiness would lead to time in detention. It never really succeeded in changing my behavior. On the contrary, I usually took the dedicated time to do homework so I could come home to play more games, watch lots of TV, stay up late, miss more buses and do it all over again. My character and behavior was quite a bit different than the hooligans that spent time in detention for more typical reasons. It always brought a smile to my face to see the detention teacher’s puzzled look as he or she looked over the class to see notes being passed around with stealth, spitballs flying, and then see me writing on music on full orchestral-sized paper. In a way, this public display of contrast was my passive-aggressive teenage way of rebelling against the system.
Music-wise, a few things stand out about this piece. First, it has an introduction lasting more than a measure or two, which was a first for me. I put this in as a bit of a prelude before the main theme is introduced. The intro sneaks in the sound of the left hand coming through, first as accented single notes, and then a second time as full octaves. This is the second distinguishing feature- a left handed melody. Being left-handed, I adored the fairly rare piano pieces featuring a left-handed melody. Chopin’s Prelude No. 6 in B-minor is the first I remember encountering (my high school piano teacher used to call that one “Chopin’s other Raindrop Prelude”, to distinguish it from the more known Raindrop prelude No. 15). With my Impromptu, however, the left hand is not meant to be a frail raindrop, but rather a boldly heroic sound. The bold sound makes me wonder if I should have just titled this, “I’m left handed, and proud of it”
This piece is the first one that got attention drawn to me. Our Spanish class was returning from a Spanish class field trip were we performed “Summer Nights” from Greece in Spanish. We spent about an hour in the music room waiting for school to end. A few people played some pieces they knew on piano. At one point I sat down and played this Impromptu, nearly complete, just eagerly working out a few areas. By the end of the piece I looked up to a silent room with my classmates staring at me. “What was that? That was awesome”, someone asked. . “A piece I’m almost done writing”, I replied back. It was met with disbelief. I wasn’t known to anyone to even play piano, let alone compose music. “Muy bueno, Miguel”, my Spanish teacher applauded. I made a few musician friends out of that experience. One later nick-named me a “Chopianist” because all I played at that time was Chopin and composed romantic style music. I liked that people enjoyed my music and it encouraged me to do more. Looking back on my highschool yearbook, I always feel a litter bitter about not even being mentioned in the “musical talent” photos. Such is life.

| *****END OF TEMPLATE***** }}

Impromptu in G minor (Shuey, Michael Gabriel Edouard)

2020-06-01T02:09:08Z

Shueymg: Added 1 files to Impromptu in G minor (Shuey, Michael Gabriel Edouard)

{{#fte:imslppage

| *****AUDIO***** =

| *****FILES***** =
{{#fte:imslpfile
|File Name 1=PMLP1010011-Impromtpu_f2014.pdf
|File Description 1=Complete Score
|Editor=
|Image Type=New Composition
|Scanner=composer
|Uploader=[[User:Shueymg|Shueymg]]
|Date Submitted=2020/6/1
|Publisher Information=Michael Gabriel Edouard Shuey
|Copyright=Creative Commons Attribution-NonCommercial-NoDerivs 4.0
|Misc. Notes=left hand melody, epic sound
}}

| *****WORK INFO*****

|Work Title=Impromptu in G minor
|Alternative Title=
|Opus/Catalogue Number=
|Key={{key|g}}
|Movements Header=
|Number of Movements/Sections=
|Average Duration=6.5 minutes
|Dedication=
|First Performance=
|Year/Date of Composition=1996-97
|Year of First Publication=
|Librettist=
|Language=
|Piece Style=Romantic
|Instrumentation=piano

| *****COMMENTS***** =

By 1996 my piano and music theory ability began to develop. Discovering Chopin completely changed my style of preferred music to learn and my style of composition. After I began learning Chopin Preludes and Polonaises, I wanted to create a longer, and more epic sounding piece. The Impromptu in G-minor became that piece. At six and a half minutes long in length, the piece remains the longest I’ve ever written. Contrary to the name, the piece took me over 6-months to write and was indeed “calculated” in some areas. The name really came as a tribute to the Chopin style of listing great pieces simply as an Impromptu, a Prelude, an Etude, etc. Also as a tribute my composition style which born out of playing impromptu on the piano, inventing melodies and harmonies on the fly and eventually settling on something to write down.
My favorite memory writing this piece was in high school detention. I wasn’t really a “bad” kid in school; just a tired one. I have never been a morning person and always stayed up way past any bed time. The accumulating sleep deprivation for a teenager led to several episodes of sleeping through an alarm clock, missing the school bus, and begging a parent to bring me to school with an excuse note. The school had a tardy policy whereby a certain amount of tardiness would lead to time in detention. It never really succeeded in changing my behavior. On the contrary, I usually took the dedicated time to do homework so I could come home to play more games, watch lots of TV, stay up late, miss more buses and do it all over again. My character and behavior was quite a bit different than the hooligans that spent time in detention for more typical reasons. It always brought a smile to my face to see the detention teacher’s puzzled look as he or she looked over the class to see notes being passed around with stealth, spitballs flying, and then see me writing on music on full orchestral-sized paper. In a way, this public display of contrast was my passive-aggressive teenage way of rebelling against the system.
Music-wise, a few things stand out about this piece. First, it has an introduction lasting more than a measure or two, which was a first for me. I put this in as a bit of a prelude before the main theme is introduced. The intro sneaks in the sound of the left hand coming through, first as accented single notes, and then a second time as full octaves. This is the second distinguishing feature- a left handed melody. Being left-handed, I adored the fairly rare piano pieces featuring a left-handed melody. Chopin’s Prelude No. 6 in B-minor is the first I remember encountering (my high school piano teacher used to call that one “Chopin’s other Raindrop Prelude”, to distinguish it from the more known Raindrop prelude No. 15). With my Impromptu, however, the left hand is not meant to be a frail raindrop, but rather a boldly heroic sound. The bold sound makes me wonder if I should have just titled this, “I’m left handed, and proud of it”
This piece is the first one that got attention drawn to me. Our Spanish class was returning from a Spanish class field trip were we performed “Summer Nights” from Greece in Spanish. We spent about an hour in the music room waiting for school to end. A few people played some pieces they knew on piano. At one point I sat down and played this Impromptu, nearly complete, just eagerly working out a few areas. By the end of the piece I looked up to a silent room with my classmates staring at me. “What was that? That was awesome”, someone asked. . “A piece I’m almost done writing”, I replied back. It was met with disbelief. I wasn’t known to anyone to even play piano, let alone compose music. “Muy bueno, Miguel”, my Spanish teacher applauded. I made a few musician friends out of that experience. One later nick-named me a “Chopianist” because all I played at that time was Chopin and composed romantic style music. I liked that people enjoyed my music and it encouraged me to do more. Looking back on my highschool yearbook, I always feel a litter bitter about not even being mentioned in the “musical talent” photos. Such is life.

| *****END OF TEMPLATE***** }}

File:PMLP1010011-Impromtpu f2014.pdf

2020-06-01T02:09:07Z

Shueymg:

Impromptu in G minor (Shuey, Michael Gabriel Edouard)

2020-06-01T02:05:54Z

Shueymg: Create work

{{#fte:imslppage

| *****FILES***** =

| *****WORK INFO*****

|Work Title=Impromptu in G minor
|Alternative Title=
|Opus/Catalogue Number=
|Key={{key|g}}
|Movements Header=
|Number of Movements/Sections=
|Average Duration=6.5 minutes
|Dedication=
|First Performance=
|Year/Date of Composition=1996-97
|Year of First Publication=
|Librettist=
|Language=
|Piece Style=Romantic
|Instrumentation=piano

| *****COMMENTS***** =

By 1996 my piano and music theory ability began to develop. Discovering Chopin completely changed my style of preferred music to learn and my style of composition. After I began learning Chopin Preludes and Polonaises, I wanted to create a longer, and more epic sounding piece. The Impromptu in G-minor became that piece. At six and a half minutes long in length, the piece remains the longest I’ve ever written. Contrary to the name, the piece took me over 6-months to write and was indeed “calculated” in some areas. The name really came as a tribute to the Chopin style of listing great pieces simply as an Impromptu, a Prelude, an Etude, etc. Also as a tribute my composition style which born out of playing impromptu on the piano, inventing melodies and harmonies on the fly and eventually settling on something to write down.
My favorite memory writing this piece was in high school detention. I wasn’t really a “bad” kid in school; just a tired one. I have never been a morning person and always stayed up way past any bed time. The accumulating sleep deprivation for a teenager led to several episodes of sleeping through an alarm clock, missing the school bus, and begging a parent to bring me to school with an excuse note. The school had a tardy policy whereby a certain amount of tardiness would lead to time in detention. It never really succeeded in changing my behavior. On the contrary, I usually took the dedicated time to do homework so I could come home to play more games, watch lots of TV, stay up late, miss more buses and do it all over again. My character and behavior was quite a bit different than the hooligans that spent time in detention for more typical reasons. It always brought a smile to my face to see the detention teacher’s puzzled look as he or she looked over the class to see notes being passed around with stealth, spitballs flying, and then see me writing on music on full orchestral-sized paper. In a way, this public display of contrast was my passive-aggressive teenage way of rebelling against the system.
Music-wise, a few things stand out about this piece. First, it has an introduction lasting more than a measure or two, which was a first for me. I put this in as a bit of a prelude before the main theme is introduced. The intro sneaks in the sound of the left hand coming through, first as accented single notes, and then a second time as full octaves. This is the second distinguishing feature- a left handed melody. Being left-handed, I adored the fairly rare piano pieces featuring a left-handed melody. Chopin’s Prelude No. 6 in B-minor is the first I remember encountering (my high school piano teacher used to call that one “Chopin’s other Raindrop Prelude”, to distinguish it from the more known Raindrop prelude No. 15). With my Impromptu, however, the left hand is not meant to be a frail raindrop, but rather a boldly heroic sound. The bold sound makes me wonder if I should have just titled this, “I’m left handed, and proud of it”
This piece is the first one that got attention drawn to me. Our Spanish class was returning from a Spanish class field trip were we performed “Summer Nights” from Greece in Spanish. We spent about an hour in the music room waiting for school to end. A few people played some pieces they knew on piano. At one point I sat down and played this Impromptu, nearly complete, just eagerly working out a few areas. By the end of the piece I looked up to a silent room with my classmates staring at me. “What was that? That was awesome”, someone asked. . “A piece I’m almost done writing”, I replied back. It was met with disbelief. I wasn’t known to anyone to even play piano, let alone compose music. “Muy bueno, Miguel”, my Spanish teacher applauded. I made a few musician friends out of that experience. One later nick-named me a “Chopianist” because all I played at that time was Chopin and composed romantic style music. I liked that people enjoyed my music and it encouraged me to do more. Looking back on my highschool yearbook, I always feel a litter bitter about not even being mentioned in the “musical talent” photos. Such is life.

| *****END OF TEMPLATE***** }}

Winds of Change (Shuey, Michael Gabriel Edouard)

2020-05-20T20:09:39Z

Shueymg: capitalization

{{#fte:imslppage

| *****AUDIO***** =
===Synthesized/MIDI===
{{#fte:imslpaudio
|File Name 1=PMLP1004979-Winds_of_Change_f2014.mp3
|File Description 1=Synthesized Performance
|Performers=Synthesized Playback
|Performer Categories=
|Uploader=[[User:Shueymg|Shueymg]]
|Date Submitted=2020/5/15
|Publisher Information=Michael Shuey
|Copyright=Creative Commons Attribution-NonCommercial-NoDerivs 4.0
|Misc. Notes=
}}

| *****FILES***** =
{{#fte:imslpfile
|File Name 1=PMLP1004979-Winds_of_Change_f2014.pdf
|File Description 1=Complete Score
|Editor=
|Image Type=New Composition
|Scanner=composer
|Uploader=[[User:Shueymg|Shueymg]]
|Date Submitted=2020/5/15
|Publisher Information=Michael Gabriel Edouard Shuey
|Copyright=Creative Commons Attribution-NonCommercial-NoDerivs 4.0
|Misc. Notes=
}}

| *****WORK INFO*****

|Work Title=Winds of Change
|Alternative Title=
|Opus/Catalogue Number=
|Key={{key|g}}
|Movements Header=
|Number of Movements/Sections=
|Average Duration=4 minutes
|Dedication=
|First Performance=
|Year/Date of Composition=1995-96
|Year of First Publication=
|Librettist=
|Language=
|Piece Style=Romantic
|Instrumentation=piano

| *****COMMENTS***** =

To practice hand-over-hand arpeggios on the piano, I made an exercise for myself based on a simple chord progression (G-minor->D-major->G-minor->E-flat major->G-minor->G-dim->G-flat major). I would practice this every day just to get warmed up. After several days of practicing, I expanded around this chord progression to create the beginning of this piece. I let the music take me to other places with several changes of pace and style. I found the changes intriguing. When I tried to think of the “feel” of this piece, a hearty and singing wind with mountains in the background came to mind. At the time of writing this I also was very much enjoying playing the card game called Magic The Gathering. In that game, every card had commissioned art work. I would frequently be reciting a piece over in my head while playing. One day I noticed a particular card called “Winds of Change” which I thought embodied the feel of this piece.

| *****END OF TEMPLATE***** }}

Category:Shuey, Michael Gabriel Edouard

2020-05-15T03:25:52Z

Shueymg: Completed link to Alfred Mayhew Shuey

{{#fte:person
|Born Year=1978|Born Month=9|Born Day=23
|Died Year=|Died Month=|Died Day=
|Nationality=American
|Nationality 2=French
|Time Period=Modern
|Picture=Me_Piano_cropped.jpg
|Picture Caption="At the home piano ca 1996"
|Instrument=piano
|IMSLP Contributor=shueymg
|Extra Information=Living and working in Cincinnati, OH area

|Biography Link= September 23, 1978 (Pittsburgh, PA, USA)
Father: Ralph Tasker Shuey (born 1942, New York, USA)
Mother: Michele Shuey (born 1942, Paris, France)

* Amateur pianist and composer
* Self-taught piano for 3 years before taking private lessons
* Piano and composition from University of Cincinnati College Conservatory of Music (1996-2001) while completing a degree in Aerospace Engineering
* 1st cousin, 4 times removed, of composer {{LinkName|Alfred Mayhew|Shuey}} (D.B. Shuey, Michael's great-great grandfather, and Alfred were 1st cousins)
{{IArchDt|historyshueyfam00shuegoog|n100||''History of the Shuey Family in America, from 1732 to 1919 by D.B. Shuey'' (1919), p.94}}
}}

Category:Shuey, Michael Gabriel Edouard

2020-05-15T03:24:46Z

Shueymg:

{{#fte:person
|Born Year=1978|Born Month=9|Born Day=23
|Died Year=|Died Month=|Died Day=
|Nationality=American
|Nationality 2=French
|Time Period=Modern
|Picture=Me_Piano_cropped.jpg
|Picture Caption="At the home piano ca 1996"
|Instrument=piano
|IMSLP Contributor=shueymg
|Extra Information=Living and working in Cincinnati, OH area

|Biography Link= September 23, 1978 (Pittsburgh, PA, USA)
Father: Ralph Tasker Shuey (born 1942, New York, USA)
Mother: Michele Shuey (born 1942, Paris, France)

* Amateur pianist and composer
* Self-taught piano for 3 years before taking private lessons
* Piano and composition from University of Cincinnati College Conservatory of Music (1996-2001) while completing a degree in Aerospace Engineering
* 1st cousin, 4 times removed, of composer {{LinkName|Hermann|Abert}} {{LinkName|Alfred Mayhew|Shuey}} [[Category:Shuey, Alfred Mayhew|Alfred Mayhew Shuey]] (D.B. Shuey, Michael's great-great grandfather, and Alfred were 1st cousins)
[[Category:Shuey, Alfred Mayhew|Alfred Mayhew Shuey]]
{{IArchDt|historyshueyfam00shuegoog|n100||''History of the Shuey Family in America, from 1732 to 1919 by D.B. Shuey'' (1919), p.94}}
}}

Category:Shuey, Michael Gabriel Edouard

2020-05-15T03:20:58Z

Shueymg:

{{#fte:person
|Born Year=1978|Born Month=9|Born Day=23
|Died Year=|Died Month=|Died Day=
|Nationality=American
|Nationality 2=French
|Time Period=Modern
|Picture=Me_Piano_cropped.jpg
|Picture Caption="At the home piano ca 1996"
|Instrument=piano
|IMSLP Contributor=shueymg
|Extra Information=Living and working in Cincinnati, OH area

|Biography Link= September 23, 1978 (Pittsburgh, PA, USA)
Father: Ralph Tasker Shuey (born 1942, New York, USA)
Mother: Michele Shuey (born 1942, Paris, France)

* Amateur pianist and composer
* Self-taught piano for 3 years before taking private lessons
* Piano and composition from University of Cincinnati College Conservatory of Music (1996-2001) while completing a degree in Aerospace Engineering
* 1st cousin, 4 times removed, of composer {{LinkName|Hermann|Abert}} {{LinkName|Alfred_Mayew|Shuey}} [[Category:Shuey, Alfred Mayhew|Alfred Mayhew Shuey]] (D.B. Shuey, Michael's great-great grandfather, and Alfred were 1st cousins)
[[Category:Shuey, Alfred Mayhew|Alfred Mayhew Shuey]]
{{IArchDt|historyshueyfam00shuegoog|n100||''History of the Shuey Family in America, from 1732 to 1919 by D.B. Shuey'' (1919), p.94}}
}}

Category:Shuey, Michael Gabriel Edouard

2020-05-15T03:19:45Z

Shueymg:

{{#fte:person
|Born Year=1978|Born Month=9|Born Day=23
|Died Year=|Died Month=|Died Day=
|Nationality=American
|Nationality 2=French
|Time Period=Modern
|Picture=Me_Piano_cropped.jpg
|Picture Caption="At the home piano ca 1996"
|Instrument=piano
|IMSLP Contributor=shueymg
|Extra Information=Living and working in Cincinnati, OH area

|Biography Link= September 23, 1978 (Pittsburgh, PA, USA)
Father: Ralph Tasker Shuey (born 1942, New York, USA)
Mother: Michele Shuey (born 1942, Paris, France)

* Amateur pianist and composer
* Self-taught piano for 3 years before taking private lessons
* Piano and composition from University of Cincinnati College Conservatory of Music (1996-2001) while completing a degree in Aerospace Engineering
* 1st cousin, 4 times removed, of composer {{LinkName|Hermann|Abert}} {{LinkName|Alfred Mayew|Shuey}} [[Category:Shuey, Alfred Mayhew|Alfred Mayhew Shuey]] (D.B. Shuey, Michael's great-great grandfather, and Alfred were 1st cousins)
[[Category:Shuey, Alfred Mayhew|Alfred Mayhew Shuey]]
{{IArchDt|historyshueyfam00shuegoog|n100||''History of the Shuey Family in America, from 1732 to 1919 by D.B. Shuey'' (1919), p.94}}
}}

A Bot in San Francisco (Shuey, Michael Gabriel Edouard)

2020-05-15T03:04:38Z

Shueymg: moved A Bot in San Francisco (Shuey, Michael Gabriel Edouard) to A Boy in San Francisco (Shuey, Michael Gabriel Edouard): Type-o

#REDIRECT [[A Boy in San Francisco (Shuey, Michael Gabriel Edouard)]]

A Boy in San Francisco (Shuey, Michael Gabriel Edouard)

2020-05-15T03:04:38Z

Shueymg: moved A Bot in San Francisco (Shuey, Michael Gabriel Edouard) to A Boy in San Francisco (Shuey, Michael Gabriel Edouard): Type-o

{{#fte:imslppage

| *****AUDIO***** =
===Synthesized/MIDI===
{{#fte:imslpaudio
|File Name 1=PMLP1004742-A_boy_on_San_Francisco_pt1.mp3
|File Description 1=Part 1- Playback
|Performers=Software Playback
|Performer Categories=
|Uploader=[[User:Shueymg|Shueymg]]
|Date Submitted=2020/5/14
|Publisher Information=Michael Shuey
|Copyright=Creative Commons Attribution-NonCommercial-NoDerivs 4.0
|Misc. Notes=
}}
{{#fte:imslpaudio
|File Name 1=PMLP1004742-A_boy_on_San_Francisco_pt2.mp3
|File Description 1=Part 2- Playback
|Performers=Software playback
|Performer Categories=
|Uploader=[[User:Shueymg|Shueymg]]
|Date Submitted=2020/5/14
|Publisher Information=Michael Shuey
|Copyright=Creative Commons Attribution-NonCommercial-NoDerivs 4.0
|Misc. Notes=
}}
| *****FILES***** =
{{#fte:imslpfile
|File Name 1=PMLP1004742-A_boy_in_San_Fransico_f2014_pt1.pdf
|File Description 1=Part 1
|Editor=
|Image Type=New Composition
|Scanner=composer
|Uploader=[[User:Shueymg|Shueymg]]
|Date Submitted=2020/5/14
|Publisher Information=Michael Gabriel Edouard Shuey
|Copyright=Creative Commons Attribution-NonCommercial-NoDerivs 4.0
|Misc. Notes=part 1
}}
{{#fte:imslpfile
|File Name 1=PMLP1004742-A_boy_in_San_Fransico_f2014_pt2.pdf
|File Description 1=Part 2
|Editor=
|Image Type=New Composition
|Scanner=composer
|Uploader=[[User:Shueymg|Shueymg]]
|Date Submitted=2020/5/14
|Publisher Information=Michael Gabriel Edouard Shuey
|Copyright=Creative Commons Attribution-NonCommercial-NoDerivs 4.0
|Misc. Notes=part 2
}}

| *****WORK INFO*****

|Work Title=A Boy in San Francisco
|Alternative Title=
|Opus/Catalogue Number=
|Key={{key|Eb}}
|Movements Header=2 parts
|Number of Movements/Sections=2 parts
|Average Duration=1 minutes
|Dedication=To my love, Kristine
|First Performance=
|Year/Date of Composition=2001
|Year of First Publication=
|Librettist=
|Language=
|Piece Style=Romantic
|Extra Information=Late romantic style. Multi-part story.
|Instrumentation=piano

| *****COMMENTS***** =

As part of my University experience I spent 1-year abroad in a French engineering school, ENSMA in Poitiers. While the year proved to grow me in many ways and help “find myself”, I can’t say I wrote much music. This was largely because I didn’t have access to a computer, which I had become accustomed to putting my music in notational software at this point. I was however courting Kristine (whom I later married) writing with large volumes of hand-written letters. I would write up to 3 letters a week, and each week I’d find a way to make a gift. The gifts ranged from hand-made puzzles to platinum-coated jet engine turbine blades, and at some point I turned back to music.
For this purpose, I wanted to make something very different from my previous compositions. I also wanted it to be something that if successful could be continued over and over. My solution was to write purposely short pieces of music. My thought was to make a “character story” out of the music. With this in mind, I let my mind compose before moving to the piano. Very strangely, I turned to more late Romantic style, a music style I wasn’t usually interested in. Nevertheless, the style fit nicely to build my story-piece, so I went with it.
In my imagination, this music opens as a foggy scene of a not-too busy city corner perhaps early 20th century San Francisco. A boy is sitting down against a wall. He is holding his hands around his knees looking down at the ground. Is he poor and homeless, or just resting? The “camera” point of view pans around and cuts out. That is the basis of “A Boy in San Francisco part 1”. In my letter to Kristine I remember writing, “Who is he, we don’t know, but I think he feels like running”.

In part 2, we find the boy running and skipping down the streets, happily playing and having fun. Sweet, simple and short.

I meant to write more but I haven't yet.
Kristine was actually in San Francisco when I was writing my small “character pieces”. To my demise with this endeavor, she had no access to a piano and never played part 1 until months later. I had been impatiently awaiting feedback in writing so I could send part 2, which I had written shortly after sending part 1.

| *****END OF TEMPLATE***** }}

File:PMLP1004979-Winds of Change f2014.mp3

2020-05-15T02:36:26Z

Shueymg:

Winds of Change (Shuey, Michael Gabriel Edouard)

2020-05-15T02:36:26Z

Shueymg: Added 1 files to Winds of Change (Shuey, Michael Gabriel Edouard)

{{#fte:imslppage

| *****AUDIO***** =
===Synthesized/MIDI===
{{#fte:imslpaudio
|File Name 1=PMLP1004979-Winds_of_Change_f2014.mp3
|File Description 1=Winds of Change- Playback
|Performers=Synthesized Playback
|Performer Categories=
|Uploader=[[User:Shueymg|Shueymg]]
|Date Submitted=2020/5/15
|Publisher Information=Michael Shuey
|Copyright=Creative Commons Attribution-NonCommercial-NoDerivs 4.0
|Misc. Notes=
}}

| *****FILES***** =
{{#fte:imslpfile
|File Name 1=PMLP1004979-Winds_of_Change_f2014.pdf
|File Description 1=Complete Score
|Editor=
|Image Type=New Composition
|Scanner=composer
|Uploader=[[User:Shueymg|Shueymg]]
|Date Submitted=2020/5/15
|Publisher Information=Michael Gabriel Edouard Shuey
|Copyright=Creative Commons Attribution-NonCommercial-NoDerivs 4.0
|Misc. Notes=
}}

| *****WORK INFO*****

|Work Title=Winds of Change
|Alternative Title=
|Opus/Catalogue Number=
|Key={{key|g}}
|Movements Header=
|Number of Movements/Sections=
|Average Duration=4 minutes
|Dedication=
|First Performance=
|Year/Date of Composition=1995-96
|Year of First Publication=
|Librettist=
|Language=
|Piece Style=Romantic
|Instrumentation=piano

| *****COMMENTS***** =

To practice hand-over-hand arpeggios on the piano, I made an exercise for myself based on a simple chord progression (g-minor->D-major->G-minor->E-flat major->G-minor->G-dim->G-flat major). I would practice this every day just to get warmed up. After several days of practicing, I expanded around this chord progression to create the beginning of this piece. I let the music take me to other places with several changes of pace and style. I found the changes intriguing. When I tried to think of the “feel” of this piece, a hearty and singing wind with mountains in the background came to mind. At the time of writing this I also was very much enjoying playing the card game called Magic The Gathering. In that game, every card had commissioned art work. I would frequently be reciting a piece over in my head while playing. One day I noticed a particular card called “Winds of Change” which I thought embodied the feel of this piece.

| *****END OF TEMPLATE***** }}

Winds of Change (Shuey, Michael Gabriel Edouard)

2020-05-15T02:34:53Z

Shueymg: Added 1 files to Winds of Change (Shuey, Michael Gabriel Edouard)

{{#fte:imslppage

| *****AUDIO***** =

| *****FILES***** =
{{#fte:imslpfile
|File Name 1=PMLP1004979-Winds_of_Change_f2014.pdf
|File Description 1=Complete Score
|Editor=
|Image Type=New Composition
|Scanner=composer
|Uploader=[[User:Shueymg|Shueymg]]
|Date Submitted=2020/5/15
|Publisher Information=Michael Gabriel Edouard Shuey
|Copyright=Creative Commons Attribution-NonCommercial-NoDerivs 4.0
|Misc. Notes=
}}

| *****WORK INFO*****

|Work Title=Winds of Change
|Alternative Title=
|Opus/Catalogue Number=
|Key={{key|g}}
|Movements Header=
|Number of Movements/Sections=
|Average Duration=4 minutes
|Dedication=
|First Performance=
|Year/Date of Composition=1995-96
|Year of First Publication=
|Librettist=
|Language=
|Piece Style=Romantic
|Instrumentation=piano

| *****COMMENTS***** =

To practice hand-over-hand arpeggios on the piano, I made an exercise for myself based on a simple chord progression (g-minor->D-major->G-minor->E-flat major->G-minor->G-dim->G-flat major). I would practice this every day just to get warmed up. After several days of practicing, I expanded around this chord progression to create the beginning of this piece. I let the music take me to other places with several changes of pace and style. I found the changes intriguing. When I tried to think of the “feel” of this piece, a hearty and singing wind with mountains in the background came to mind. At the time of writing this I also was very much enjoying playing the card game called Magic The Gathering. In that game, every card had commissioned art work. I would frequently be reciting a piece over in my head while playing. One day I noticed a particular card called “Winds of Change” which I thought embodied the feel of this piece.

| *****END OF TEMPLATE***** }}

File:PMLP1004979-Winds of Change f2014.pdf

2020-05-15T02:34:51Z

Shueymg:

Winds of Change (Shuey, Michael Gabriel Edouard)

2020-05-15T02:30:09Z

Shueymg: Create work

{{#fte:imslppage

| *****FILES***** =

| *****WORK INFO*****

|Work Title=Winds of Change
|Alternative Title=
|Opus/Catalogue Number=
|Key={{key|g}}
|Movements Header=
|Number of Movements/Sections=
|Average Duration=4 minutes
|Dedication=
|First Performance=
|Year/Date of Composition=1995-96
|Year of First Publication=
|Librettist=
|Language=
|Piece Style=Romantic
|Instrumentation=piano

| *****COMMENTS***** =

To practice hand-over-hand arpeggios on the piano, I made an exercise for myself based on a simple chord progression (g-minor->D-major->G-minor->E-flat major->G-minor->G-dim->G-flat major). I would practice this every day just to get warmed up. After several days of practicing, I expanded around this chord progression to create the beginning of this piece. I let the music take me to other places with several changes of pace and style. I found the changes intriguing. When I tried to think of the “feel” of this piece, a hearty and singing wind with mountains in the background came to mind. At the time of writing this I also was very much enjoying playing the card game called Magic The Gathering. In that game, every card had commissioned art work. I would frequently be reciting a piece over in my head while playing. One day I noticed a particular card called “Winds of Change” which I thought embodied the feel of this piece.

| *****END OF TEMPLATE***** }}

Category:Shuey, Michael Gabriel Edouard

2020-05-14T20:13:20Z

Shueymg:

{{#fte:person
|Born Year=1978|Born Month=9|Born Day=23
|Died Year=|Died Month=|Died Day=
|Nationality=American
|Nationality 2=French
|Time Period=Modern
|Picture=Me_Piano_cropped.jpg
|Picture Caption="At the home piano ca 1996"
|Instrument=piano
|IMSLP Contributor=shueymg
|Extra Information=Living and working in Cincinnati, OH area

|Biography Link= September 23, 1978 (Pittsburgh, PA, USA)
Father: Ralph Tasker Shuey (born 1942, New York, USA)
Mother: Michele Shuey (born 1942, Paris, France)

* Amateur pianist and composer
* Self-taught piano for 3 years before taking private lessons
* Piano and composition from University of Cincinnati College Conservatory of Music (1996-2001) while completing a degree in Aerospace Engineering
* 1st cousin, 4 times removed, of composer [[Category:Shuey, Alfred Mayhew|Alfred Mayhew Shuey]] Alfred Mayhew Shuey [[Category:Shuey,_Alfred_Mayhew|Alfred Mayhew Shuey]] (D.B. Shuey, Michael's great-great grandfather, and Alfred were 1st cousins)
[[Category:Shuey, Alfred Mayhew|Alfred Mayhew Shuey]]
{{IArchDt|historyshueyfam00shuegoog|n100||''History of the Shuey Family in America, from 1732 to 1919 by D.B. Shuey'' (1919), p.94}}
}}

Category:Shuey, Michael Gabriel Edouard

2020-05-14T20:12:39Z

Shueymg:

{{#fte:person
|Born Year=1978|Born Month=9|Born Day=23
|Died Year=|Died Month=|Died Day=
|Nationality=American
|Nationality 2=French
|Time Period=Modern
|Picture=Me_Piano_cropped.jpg
|Picture Caption="At the home piano ca 1996"
|Instrument=piano
|IMSLP Contributor=shueymg
|Extra Information=Living and working in Cincinnati, OH area

|Biography Link= September 23, 1978 (Pittsburgh, PA, USA)
Father: Ralph Tasker Shuey (born 1942, New York, USA)
Mother: Michele Shuey (born 1942, Paris, France)

* Amateur pianist and composer
* Self-taught piano for 3 years before taking private lessons
* Piano and composition from University of Cincinnati College Conservatory of Music (1996-2001) while completing a degree in Aerospace Engineering
* 1st cousin, 4 times removed, of composer [[Category:Shuey, Alfred Mayhew|Alfred Mayhew Shuey]]Alfred Mayhew Shuey [[Category:Shuey,_Alfred_Mayhew|Alfred Mayhew Shuey]] (D.B. Shuey, Michael's great-great grandfather, and Alfred were 1st cousins)
[[Category:Shuey, Alfred Mayhew|Alfred Mayhew Shuey]]
{{IArchDt|historyshueyfam00shuegoog|n100||''History of the Shuey Family in America, from 1732 to 1919 by D.B. Shuey'' (1919), p.94}}
}}

Category:Shuey, Michael Gabriel Edouard

2020-05-14T20:10:49Z

Shueymg:

{{#fte:person
|Born Year=1978|Born Month=9|Born Day=23
|Died Year=|Died Month=|Died Day=
|Nationality=American
|Nationality 2=French
|Time Period=Modern
|Picture=Me_Piano_cropped.jpg
|Picture Caption="At the home piano ca 1996"
|Instrument=piano
|IMSLP Contributor=shueymg
|Extra Information=Living and working in Cincinnati, OH area

|Biography Link= September 23, 1978 (Pittsburgh, PA, USA)
Father: Ralph Tasker Shuey (born 1942, New York, USA)
Mother: Michele Shuey (born 1942, Paris, France)

* Amateur pianist and composer
* Self-taught piano for 3 years before taking private lessons
* Piano and composition from University of Cincinnati College Conservatory of Music (1996-2001) while completing a degree in Aerospace Engineering
* 1st cousin, 4 times removed, of composer Alfred Mayhew Shuey [[Category:Shuey,_Alfred_Mayhew|Alfred Mayhew Shuey]] (D.B. Shuey, Michael's great-great grandfather, and Alfred were 1st cousins)
[[Category:Shuey, Alfred Mayhew|Alfred Mayhew Shuey]]
{{IArchDt|historyshueyfam00shuegoog|n100||''History of the Shuey Family in America, from 1732 to 1919 by D.B. Shuey'' (1919), p.94}}
}}

Category:Shuey, Michael Gabriel Edouard

2020-05-14T20:09:56Z

Shueymg:

{{#fte:person
|Born Year=1978|Born Month=9|Born Day=23
|Died Year=|Died Month=|Died Day=
|Nationality=American
|Nationality 2=French
|Time Period=Modern
|Picture=Me_Piano_cropped.jpg
|Picture Caption="At the home piano ca 1996"
|Instrument=piano
|IMSLP Contributor=shueymg
|Extra Information=Living and working in Cincinnati, OH area

|Biography Link= September 23, 1978 (Pittsburgh, PA, USA)
Father: Ralph Tasker Shuey (born 1942, New York, USA)
Mother: Michele Shuey (born 1942, Paris, France)

* Amateur pianist and composer
* Self-taught piano for 3 years before taking private lessons
* Piano and composition from University of Cincinnati College Conservatory of Music (1996-2001) while completing a degree in Aerospace Engineering
* 1st cousin, 4 times removed, of composer Alfred Mayhew Shuey [[Category:Shuey,_Alfred_Mayhew]] (D.B. Shuey, Michael's great-great grandfather, and Alfred were 1st cousins)
[[Category:Shuey, Alfred Mayhew|Alfred Mayhew Shuey]]
{{IArchDt|historyshueyfam00shuegoog|n100||''History of the Shuey Family in America, from 1732 to 1919 by D.B. Shuey'' (1919), p.94}}
}}

Category:Shuey, Michael Gabriel Edouard

2020-05-14T20:08:40Z

Shueymg:

{{#fte:person
|Born Year=1978|Born Month=9|Born Day=23
|Died Year=|Died Month=|Died Day=
|Nationality=American
|Nationality 2=French
|Time Period=Modern
|Picture=Me_Piano_cropped.jpg
|Picture Caption="At the home piano ca 1996"
|Instrument=piano
|IMSLP Contributor=shueymg
|Extra Information=Living and working in Cincinnati, OH area

|Biography Link= September 23, 1978 (Pittsburgh, PA, USA)
Father: Ralph Tasker Shuey (born 1942, New York, USA)
Mother: Michele Shuey (born 1942, Paris, France)

* Amateur pianist and composer
* Self-taught piano for 3 years before taking private lessons
* Piano and composition from University of Cincinnati College Conservatory of Music (1996-2001) while completing a degree in Aerospace Engineering
* 1st cousin, 4 times removed, of composer Alfred Mayhew Shuey [[Composer:Shuey, Alfred Mayhew|Alfred Mayhew Shuey]] (D.B. Shuey, Michael's great-great grandfather, and Alfred were 1st cousins)
[[Category:Shuey, Alfred Mayhew|Alfred Mayhew Shuey]]
{{IArchDt|historyshueyfam00shuegoog|n100||''History of the Shuey Family in America, from 1732 to 1919 by D.B. Shuey'' (1919), p.94}}
}}

Category:Shuey, Michael Gabriel Edouard

2020-05-14T20:08:12Z

Shueymg:

{{#fte:person
|Born Year=1978|Born Month=9|Born Day=23
|Died Year=|Died Month=|Died Day=
|Nationality=American
|Nationality 2=French
|Time Period=Modern
|Picture=Me_Piano_cropped.jpg
|Picture Caption="At the home piano ca 1996"
|Instrument=piano
|IMSLP Contributor=shueymg
|Extra Information=Living and working in Cincinnati, OH area

|Biography Link= September 23, 1978 (Pittsburgh, PA, USA)
Father: Ralph Tasker Shuey (born 1942, New York, USA)
Mother: Michele Shuey (born 1942, Paris, France)

* Amateur pianist and composer
* Self-taught piano for 3 years before taking private lessons
* Piano and composition from University of Cincinnati College Conservatory of Music (1996-2001) while completing a degree in Aerospace Engineering
* 1st cousin, 4 times removed, of composer Alfred Mayhew Shuey [[Category: Shuey, Alfred Mayhew|Alfred Mayhew Shuey]] (D.B. Shuey, Michael's great-great grandfather, and Alfred were 1st cousins)
[[Category:Shuey, Alfred Mayhew|Alfred Mayhew Shuey]]
{{IArchDt|historyshueyfam00shuegoog|n100||''History of the Shuey Family in America, from 1732 to 1919 by D.B. Shuey'' (1919), p.94}}
}}

Category:Shuey, Michael Gabriel Edouard

2020-05-14T20:06:30Z

Shueymg:

{{#fte:person
|Born Year=1978|Born Month=9|Born Day=23
|Died Year=|Died Month=|Died Day=
|Nationality=American
|Nationality 2=French
|Time Period=Modern
|Picture=Me_Piano_cropped.jpg
|Picture Caption="At the home piano ca 1996"
|Instrument=piano
|IMSLP Contributor=shueymg
|Extra Information=Living and working in Cincinnati, OH area

|Biography Link= September 23, 1978 (Pittsburgh, PA, USA)
Father: Ralph Tasker Shuey (born 1942, New York, USA)
Mother: Michele Shuey (born 1942, Paris, France)

* Amateur pianist and composer
* Self-taught piano for 3 years before taking private lessons
* Piano and composition from University of Cincinnati College Conservatory of Music (1996-2001) while completing a degree in Aerospace Engineering
* 1st cousin, 4 times removed, of composer Alfred Mayhew Shuey [[Category:Shuey, Alfred Mayhew|Alfred Mayhew Shuey]] (D.B. Shuey, Michael's great-great grandfather, and Alfred were 1st cousins)
[[Category:Shuey, Alfred Mayhew|Alfred Mayhew Shuey]]
{{IArchDt|historyshueyfam00shuegoog|n100||''History of the Shuey Family in America, from 1732 to 1919 by D.B. Shuey'' (1919), p.94}}
}}

Category:Shuey, Michael Gabriel Edouard

2020-05-14T20:05:18Z

Shueymg:

{{#fte:person
|Born Year=1978|Born Month=9|Born Day=23
|Died Year=|Died Month=|Died Day=
|Nationality=American
|Nationality 2=French
|Time Period=Modern
|Picture=Me_Piano_cropped.jpg
|Picture Caption="At the home piano ca 1996"
|Instrument=piano
|IMSLP Contributor=shueymg
|Extra Information=Living and working in Cincinnati, OH area

|Biography Link= September 23, 1978 (Pittsburgh, PA, USA)
Father: Ralph Tasker Shuey (born 1942, New York, USA)
Mother: Michele Shuey (born 1942, Paris, France)

* Amateur pianist and composer
* Self-taught piano for 3 years before taking private lessons
* Piano and composition from University of Cincinnati College Conservatory of Music (1996-2001) while completing a degree in Aerospace Engineering
* 1st cousin, 4 times removed, of composer Alfred Mayhew Shuey [[Shuey, Alfred Mayhew|Alfred Mayhew Shuey]] (D.B. Shuey, Michael's great-great grandfather, and Alfred were 1st cousins)
[[Category:Shuey, Alfred Mayhew|Alfred Mayhew Shuey]]
{{IArchDt|historyshueyfam00shuegoog|n100||''History of the Shuey Family in America, from 1732 to 1919 by D.B. Shuey'' (1919), p.94}}
}}

A Boy in San Francisco (Shuey, Michael Gabriel Edouard)

2020-05-14T03:23:36Z

Shueymg: update part 2 audio as Synthesized

A Boy in San Francisco (Shuey, Michael Gabriel Edouard)

2020-05-14T03:20:04Z

Shueymg: Title correction to a Boy in San Francisco (not Bot)

{{#fte:imslppage

| *****AUDIO***** =
===Accompaniments===
{{#fte:imslpaudio
|File Name 1=PMLP1004742-A_boy_on_San_Francisco_pt2.mp3
|File Description 1=Part 2- Playback
|Performers=Software playback
|Performer Categories=
|Uploader=[[User:Shueymg|Shueymg]]
|Date Submitted=2020/5/14
|Publisher Information=Michael Shuey
|Copyright=Creative Commons Attribution-NonCommercial-NoDerivs 4.0
|Misc. Notes=
}}

===Synthesized/MIDI===
{{#fte:imslpaudio
|File Name 1=PMLP1004742-A_boy_on_San_Francisco_pt1.mp3
|File Description 1=Part 1- Playback
|Performers=Software Playback
|Performer Categories=
|Uploader=[[User:Shueymg|Shueymg]]
|Date Submitted=2020/5/14
|Publisher Information=Michael Shuey
|Copyright=Creative Commons Attribution-NonCommercial-NoDerivs 4.0
|Misc. Notes=
}}

| *****FILES***** =
{{#fte:imslpfile
|File Name 1=PMLP1004742-A_boy_in_San_Fransico_f2014_pt1.pdf
|File Description 1=Part 1
|Editor=
|Image Type=New Composition
|Scanner=composer
|Uploader=[[User:Shueymg|Shueymg]]
|Date Submitted=2020/5/14
|Publisher Information=Michael Gabriel Edouard Shuey
|Copyright=Creative Commons Attribution-NonCommercial-NoDerivs 4.0
|Misc. Notes=part 1
}}
{{#fte:imslpfile
|File Name 1=PMLP1004742-A_boy_in_San_Fransico_f2014_pt2.pdf
|File Description 1=Part 2
|Editor=
|Image Type=New Composition
|Scanner=composer
|Uploader=[[User:Shueymg|Shueymg]]
|Date Submitted=2020/5/14
|Publisher Information=Michael Gabriel Edouard Shuey
|Copyright=Creative Commons Attribution-NonCommercial-NoDerivs 4.0
|Misc. Notes=part 2
}}

| *****WORK INFO*****

|Work Title=A Boy in San Francisco
|Alternative Title=
|Opus/Catalogue Number=
|Key={{key|Eb}}
|Movements Header=2 parts
|Number of Movements/Sections=2 parts
|Average Duration=1 minutes
|Dedication=To my love, Kristine
|First Performance=
|Year/Date of Composition=2001
|Year of First Publication=
|Librettist=
|Language=
|Piece Style=Romantic
|Extra Information=Late romantic style. Multi-part story.
|Instrumentation=piano

| *****COMMENTS***** =

As part of my University experience I spent 1-year abroad in a French engineering school, ENSMA in Poitiers. While the year proved to grow me in many ways and help “find myself”, I can’t say I wrote much music. This was largely because I didn’t have access to a computer, which I had become accustomed to putting my music in notational software at this point. I was however courting Kristine (whom I later married) writing with large volumes of hand-written letters. I would write up to 3 letters a week, and each week I’d find a way to make a gift. The gifts ranged from hand-made puzzles to platinum-coated jet engine turbine blades, and at some point I turned back to music.
For this purpose, I wanted to make something very different from my previous compositions. I also wanted it to be something that if successful could be continued over and over. My solution was to write purposely short pieces of music. My thought was to make a “character story” out of the music. With this in mind, I let my mind compose before moving to the piano. Very strangely, I turned to more late Romantic style, a music style I wasn’t usually interested in. Nevertheless, the style fit nicely to build my story-piece, so I went with it.
In my imagination, this music opens as a foggy scene of a not-too busy city corner perhaps early 20th century San Francisco. A boy is sitting down against a wall. He is holding his hands around his knees looking down at the ground. Is he poor and homeless, or just resting? The “camera” point of view pans around and cuts out. That is the basis of “A Boy in San Francisco part 1”. In my letter to Kristine I remember writing, “Who is he, we don’t know, but I think he feels like running”.

In part 2, we find the boy running and skipping down the streets, happily playing and having fun. Sweet, simple and short.

I meant to write more but I haven't yet.
Kristine was actually in San Francisco when I was writing my small “character pieces”. To my demise with this endeavor, she had no access to a piano and never played part 1 until months later. I had been impatiently awaiting feedback in writing so I could send part 2, which I had written shortly after sending part 1.

| *****END OF TEMPLATE***** }}

File:PMLP1004742-A boy on San Francisco pt2.mp3

2020-05-14T03:15:28Z

Shueymg:

A Boy in San Francisco (Shuey, Michael Gabriel Edouard)

2020-05-14T03:15:28Z

Shueymg: Added 1 files to A Bot in San Francisco (Shuey, Michael Gabriel Edouard)

{{#fte:imslppage

| *****AUDIO***** =
===Accompaniments===
{{#fte:imslpaudio
|File Name 1=PMLP1004742-A_boy_on_San_Francisco_pt2.mp3
|File Description 1=Part 2- Playback
|Performers=Software playback
|Performer Categories=
|Uploader=[[User:Shueymg|Shueymg]]
|Date Submitted=2020/5/14
|Publisher Information=Michael Shuey
|Copyright=Creative Commons Attribution-NonCommercial-NoDerivs 4.0
|Misc. Notes=
}}

===Synthesized/MIDI===
{{#fte:imslpaudio
|File Name 1=PMLP1004742-A_boy_on_San_Francisco_pt1.mp3
|File Description 1=Part 1- Playback
|Performers=Software Playback
|Performer Categories=
|Uploader=[[User:Shueymg|Shueymg]]
|Date Submitted=2020/5/14
|Publisher Information=Michael Shuey
|Copyright=Creative Commons Attribution-NonCommercial-NoDerivs 4.0
|Misc. Notes=
}}

| *****FILES***** =
{{#fte:imslpfile
|File Name 1=PMLP1004742-A_boy_in_San_Fransico_f2014_pt1.pdf
|File Description 1=Part 1
|Editor=
|Image Type=New Composition
|Scanner=composer
|Uploader=[[User:Shueymg|Shueymg]]
|Date Submitted=2020/5/14
|Publisher Information=Michael Gabriel Edouard Shuey
|Copyright=Creative Commons Attribution-NonCommercial-NoDerivs 4.0
|Misc. Notes=part 1
}}
{{#fte:imslpfile
|File Name 1=PMLP1004742-A_boy_in_San_Fransico_f2014_pt2.pdf
|File Description 1=Part 2
|Editor=
|Image Type=New Composition
|Scanner=composer
|Uploader=[[User:Shueymg|Shueymg]]
|Date Submitted=2020/5/14
|Publisher Information=Michael Gabriel Edouard Shuey
|Copyright=Creative Commons Attribution-NonCommercial-NoDerivs 4.0
|Misc. Notes=part 2
}}

| *****WORK INFO*****

|Work Title=A Bot in San Francisco
|Alternative Title=
|Opus/Catalogue Number=
|Key={{key|Eb}}
|Movements Header=2 parts
|Number of Movements/Sections=2 parts
|Average Duration=1 minutes
|Dedication=To my love, Kristine
|First Performance=
|Year/Date of Composition=2001
|Year of First Publication=
|Librettist=
|Language=
|Piece Style=Romantic
|Extra Information=Late romantic style. Multi-part story.
|Instrumentation=piano

| *****COMMENTS***** =

As part of my University experience I spent 1-year abroad in a French engineering school, ENSMA in Poitiers. While the year proved to grow me in many ways and help “find myself”, I can’t say I wrote much music. This was largely because I didn’t have access to a computer, which I had become accustomed to putting my music in notational software at this point. I was however courting Kristine (whom I later married) writing with large volumes of hand-written letters. I would write up to 3 letters a week, and each week I’d find a way to make a gift. The gifts ranged from hand-made puzzles to platinum-coated jet engine turbine blades, and at some point I turned back to music.
For this purpose, I wanted to make something very different from my previous compositions. I also wanted it to be something that if successful could be continued over and over. My solution was to write purposely short pieces of music. My thought was to make a “character story” out of the music. With this in mind, I let my mind compose before moving to the piano. Very strangely, I turned to more late Romantic style, a music style I wasn’t usually interested in. Nevertheless, the style fit nicely to build my story-piece, so I went with it.
In my imagination, this music opens as a foggy scene of a not-too busy city corner perhaps early 20th century San Francisco. A boy is sitting down against a wall. He is holding his hands around his knees looking down at the ground. Is he poor and homeless, or just resting? The “camera” point of view pans around and cuts out. That is the basis of “A Boy in San Francisco part 1”. In my letter to Kristine I remember writing, “Who is he, we don’t know, but I think he feels like running”.

In part 2, we find the boy running and skipping down the streets, happily playing and having fun. Sweet, simple and short.

I meant to write more but I haven't yet.
Kristine was actually in San Francisco when I was writing my small “character pieces”. To my demise with this endeavor, she had no access to a piano and never played part 1 until months later. I had been impatiently awaiting feedback in writing so I could send part 2, which I had written shortly after sending part 1.

| *****END OF TEMPLATE***** }}

File:PMLP1004742-A boy on San Francisco pt1.mp3

2020-05-14T03:14:12Z

Shueymg:

A Boy in San Francisco (Shuey, Michael Gabriel Edouard)

2020-05-14T03:14:12Z

Shueymg: Added 1 files to A Bot in San Francisco (Shuey, Michael Gabriel Edouard)

{{#fte:imslppage

| *****AUDIO***** =
===Synthesized/MIDI===
{{#fte:imslpaudio
|File Name 1=PMLP1004742-A_boy_on_San_Francisco_pt1.mp3
|File Description 1=Part 1- Playback
|Performers=Software Playback
|Performer Categories=
|Uploader=[[User:Shueymg|Shueymg]]
|Date Submitted=2020/5/14
|Publisher Information=Michael Shuey
|Copyright=Creative Commons Attribution-NonCommercial-NoDerivs 4.0
|Misc. Notes=
}}

| *****FILES***** =
{{#fte:imslpfile
|File Name 1=PMLP1004742-A_boy_in_San_Fransico_f2014_pt1.pdf
|File Description 1=Part 1
|Editor=
|Image Type=New Composition
|Scanner=composer
|Uploader=[[User:Shueymg|Shueymg]]
|Date Submitted=2020/5/14
|Publisher Information=Michael Gabriel Edouard Shuey
|Copyright=Creative Commons Attribution-NonCommercial-NoDerivs 4.0
|Misc. Notes=part 1
}}
{{#fte:imslpfile
|File Name 1=PMLP1004742-A_boy_in_San_Fransico_f2014_pt2.pdf
|File Description 1=Part 2
|Editor=
|Image Type=New Composition
|Scanner=composer
|Uploader=[[User:Shueymg|Shueymg]]
|Date Submitted=2020/5/14
|Publisher Information=Michael Gabriel Edouard Shuey
|Copyright=Creative Commons Attribution-NonCommercial-NoDerivs 4.0
|Misc. Notes=part 2
}}

| *****WORK INFO*****

|Work Title=A Bot in San Francisco
|Alternative Title=
|Opus/Catalogue Number=
|Key={{key|Eb}}
|Movements Header=2 parts
|Number of Movements/Sections=2 parts
|Average Duration=1 minutes
|Dedication=To my love, Kristine
|First Performance=
|Year/Date of Composition=2001
|Year of First Publication=
|Librettist=
|Language=
|Piece Style=Romantic
|Extra Information=Late romantic style. Multi-part story.
|Instrumentation=piano

| *****COMMENTS***** =

As part of my University experience I spent 1-year abroad in a French engineering school, ENSMA in Poitiers. While the year proved to grow me in many ways and help “find myself”, I can’t say I wrote much music. This was largely because I didn’t have access to a computer, which I had become accustomed to putting my music in notational software at this point. I was however courting Kristine (whom I later married) writing with large volumes of hand-written letters. I would write up to 3 letters a week, and each week I’d find a way to make a gift. The gifts ranged from hand-made puzzles to platinum-coated jet engine turbine blades, and at some point I turned back to music.
For this purpose, I wanted to make something very different from my previous compositions. I also wanted it to be something that if successful could be continued over and over. My solution was to write purposely short pieces of music. My thought was to make a “character story” out of the music. With this in mind, I let my mind compose before moving to the piano. Very strangely, I turned to more late Romantic style, a music style I wasn’t usually interested in. Nevertheless, the style fit nicely to build my story-piece, so I went with it.
In my imagination, this music opens as a foggy scene of a not-too busy city corner perhaps early 20th century San Francisco. A boy is sitting down against a wall. He is holding his hands around his knees looking down at the ground. Is he poor and homeless, or just resting? The “camera” point of view pans around and cuts out. That is the basis of “A Boy in San Francisco part 1”. In my letter to Kristine I remember writing, “Who is he, we don’t know, but I think he feels like running”.

In part 2, we find the boy running and skipping down the streets, happily playing and having fun. Sweet, simple and short.

I meant to write more but I haven't yet.
Kristine was actually in San Francisco when I was writing my small “character pieces”. To my demise with this endeavor, she had no access to a piano and never played part 1 until months later. I had been impatiently awaiting feedback in writing so I could send part 2, which I had written shortly after sending part 1.

| *****END OF TEMPLATE***** }}