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Maylyn Intro

Inspired by Sade, Norah Jones, and Alicia Keys, Maylyn Murphy's silky, soulful voice expresses love, joy, and sadness with the finesse of a master painter and the mood-spinning emotions of a midnight moon. Maylyn projects a strong belief in herself with the coolness of her delivery. On the title track of her new album Body & Soul, Maylyn sounds self-confident and strong without dipping into pop-radio clichés. Another singer would most likely raise her voice with a bratty or bitchy demeanor, but Maylyn's approach is more subtle. Maylyn isn't in your face; rather, she's whispering in your ear. On "Love Will Keep Us" and "You & I", Maylyn hits the sexual regions of her voice. Without consciously trying to be erotic, Maylyn melts the microphone with the heartbreaking prettiness of her singing. Maylyn's break-up song, "Move On", has her accepting her fate and going further with her life, unveiling a mature outlook that many young artists have yet to develop. The final song, "My Goodbye", finds Maylyn at her most moving. There is an undeniable spiritual quality to this crestfallen ballad about a loved one's passing. Maylyn's sense of mourning is balanced by her belief in God, and the overall tone - as with "Move On" - is of better days ahead. Maylyn has been a musician since she was 9, when she taught herself how to play piano. By the time she was 14, Maylyn was winning singing competitions in Japan, where she attended high school. Maylyn's culturally diverse childhood - she was taught how to speak Tagalog in the Philippines; Japanese in Yokohama; and English in California - is reflected in the diverse, exotic make-up of her music, which draws from jazz, R&B, soul, and the blues. At the age of 18, Maylyn relocated to the U.S. from Japan to pursue her dreams of becoming a pop star. She was accepted in the Berklee College of Music in Boston and also performed with renowned artists such as Usher, Diddy, and LL Cool J. After graduation, Maylyn continued to play with local bands, modeled part time for MTM and even hosted a local TV program, International Rhythms.

Author: kenpa215
Keywords: maylyn RnB R&B "Maylyn Murphey" "Kennedy DeSousa" Vip Talent Connect "RnB artist philadelphia"
Added: May 16, 2008

Come to my peformance June 1st 2008!

Inspired by Sade, Norah Jones, and Alicia Keys, Maylyn Murphy's silky, soulful voice expresses love, joy, and sadness with the finesse of a master painter and the mood-spinning emotions of a midnight moon. Maylyn projects a strong belief in herself with the coolness of her delivery. On the title track of her new album Body & Soul, Maylyn sounds self-confident and strong without dipping into pop-radio clichés. Another singer would most likely raise her voice with a bratty or bitchy demeanor, but Maylyn's approach is more subtle. Maylyn isn't in your face; rather, she's whispering in your ear. On "Love Will Keep Us" and "You & I", Maylyn hits the sexual regions of her voice. Without consciously trying to be erotic, Maylyn melts the microphone with the heartbreaking prettiness of her singing. Maylyn's break-up song, "Move On", has her accepting her fate and going further with her life, unveiling a mature outlook that many young artists have yet to develop. The final song, "My Goodbye", finds Maylyn at her most moving. There is an undeniable spiritual quality to this crestfallen ballad about a loved one's passing. Maylyn's sense of mourning is balanced by her belief in God, and the overall tone - as with "Move On" - is of better days ahead. Maylyn has been a musician since she was 9, when she taught herself how to play piano. By the time she was 14, Maylyn was winning singing competitions in Japan, where she attended high school. Maylyn's culturally diverse childhood - she was taught how to speak Tagalog in the Philippines; Japanese in Yokohama; and English in California - is reflected in the diverse, exotic make-up of her music, which draws from jazz, R&B, soul, and the blues. At the age of 18, Maylyn relocated to the U.S. from Japan to pursue her dreams of becoming a pop star. She was accepted in the Berklee College of Music in Boston and also performed with renowned artists such as Usher, Diddy, and LL Cool J. After graduation, Maylyn continued to play with local bands, modeled part time for MTM and even hosted a local TV program, International Rhythms.

Author: kenpa215
Keywords: maylyn murphy "vip talent connect" "Kennedy DeSousa" RnB Artist in Philadelphia" "Philadelphia"
Added: May 16, 2008

"Secret" Intro - On Guitar.

By request I am learning to play the music piece "Secret". I don't know how to play the piano, so I figured out I would use my guitar instead.I couldn't find any guitars playing "Secret" on YouTube, so I decided to upload a 30-second intro of the music piece. It has many mistakes, wrong tempo, stuff like that, my bad. I've only been learning guitar for half a year now.By the way, I have a new guitar, as seen in this video! It's a B.C. Rich Warbeast One, with EMG-81/85 pickups. My previous guitar (Ibanez GRX70) was humming too much, so I lent that one to one of my friends.This music piece "Secret" is originally meant to be played on the piano, in the movie by the same name.Try to enjoy these 30 seconds. You won't get them back anyway. Hehe. XD

Author: MrPootPoot
Keywords: KEY mrpootpoot secret guitar intro lose fail useless
Added: May 16, 2008

Nikita Magaloff Chopin Waltz for piano E major KK IVa/12

================================Frédéric Chopin Waltz for piano in E major, KK IVa/12, CT.220 (B.44) Nikita Magaloff, piano.================================Chopin reinvented the étude,[citation needed] expanding on the idea and making it into a gorgeous, eloquent and emotional showpiece. He also used his études to teach his own revolutionary style, for instance playing with the weak fingers (3, 4, and 5) in fast figures (Op. 10, no. 2) and playing black keys with the thumb (Op. 10, no. 5).Several of Chopin's pieces have become very well known—for instance the Revolutionary Étude (Op. 10, No. 12), the Minute Waltz (Op. 64, No. 1), and the third movement of his Funeral March sonata (Op. 35), which is often used as an iconic representation of grief. Chopin himself never named an instrumental work beyond genre and number, leaving all potential extra-musical associations to the listener; the names by which we know many of the pieces were invented by others. The Revolutionary Étude was not written with the failed Polish uprising against Russia in mind; it merely appeared at that time. The Funeral March was written before the rest of the sonata within which it is contained, but the exact occasion is not known; it appears not to have been inspired by any specific personal bereavement.[47] Other melodies have been used as the basis of popular songs, such as the slow section of the Fantaisie-Impromptu (Op. posth. 66) and the first section of the Étude Op. 10 No. 3. These pieces often rely on an intense and personalised chromaticism, as well as a melodic curve that resembles the operas of Chopin's day — the operas of Gioachino Rossini, Gaetano Donizetti, and especially Bellini. Chopin used the piano to re-create the gracefulness of the singing voice, and talked and wrote constantly about singers.Chopin's style and gifts became increasingly influential. Robert Schumann was a huge admirer of Chopin's music, and he used melodies from Chopin and even named a piece from his suite Carnaval after Chopin. This admiration was not reciprocated.Franz Liszt was another admirer and personal friend of the composer, and he transcribed for piano six of Chopin's Polish songs. However Liszt denied that he wrote Funérailles (subtitled "October 1849", the seventh movement of his piano suite Harmonies Poétiques et Religieuses of 1853) in memory of Chopin. Although the middle section seems to be modelled upon the famous octave trio section of Chopin's Polonaise in A flat major, Op. 53, Liszt said the piece had been inspired by the deaths of three of his Hungarian compatriots in the same month.Brahms and the younger Russian composers, too, found inspiration in Chopin's examples.[48]Chopin performed his own works in concert halls, but more often in his salon for friends. Later in life, as his disease progressed, Chopin gave up public performance altogether.Chopin's technical innovations also became influential. His Préludes (Op. 28) and Études (Op. 10 and Op. 25) rapidly became standard works, and inspired both Liszt's Transcendental Études and Schumann's Symphonic Études. Alexander Scriabin was also strongly influenced by Chopin; for example, his 24 Preludes, Op. 11, are inspired by Chopin's Op. 28.http://en.wikipedia.org/wiki/Chopin================================*Note:Support the artist, their families and their legacy by purchasing their music.

Author: tHEnOOSEsWINGS
Keywords: Nikita Magaloff Chopin Waltz
Added: May 15, 2008

Nikita Magaloff Chopin Waltz for piano E major KK IVa/12

================================Frédéric Chopin Waltz for piano in E major, KK IVa/12, CT.220 (B.44) Nikita Magaloff, piano.================================Chopin reinvented the étude,[citation needed] expanding on the idea and making it into a gorgeous, eloquent and emotional showpiece. He also used his études to teach his own revolutionary style, for instance playing with the weak fingers (3, 4, and 5) in fast figures (Op. 10, no. 2) and playing black keys with the thumb (Op. 10, no. 5).Several of Chopin's pieces have become very well known—for instance the Revolutionary Étude (Op. 10, No. 12), the Minute Waltz (Op. 64, No. 1), and the third movement of his Funeral March sonata (Op. 35), which is often used as an iconic representation of grief. Chopin himself never named an instrumental work beyond genre and number, leaving all potential extra-musical associations to the listener; the names by which we know many of the pieces were invented by others. The Revolutionary Étude was not written with the failed Polish uprising against Russia in mind; it merely appeared at that time. The Funeral March was written before the rest of the sonata within which it is contained, but the exact occasion is not known; it appears not to have been inspired by any specific personal bereavement.[47] Other melodies have been used as the basis of popular songs, such as the slow section of the Fantaisie-Impromptu (Op. posth. 66) and the first section of the Étude Op. 10 No. 3. These pieces often rely on an intense and personalised chromaticism, as well as a melodic curve that resembles the operas of Chopin's day — the operas of Gioachino Rossini, Gaetano Donizetti, and especially Bellini. Chopin used the piano to re-create the gracefulness of the singing voice, and talked and wrote constantly about singers.Chopin's style and gifts became increasingly influential. Robert Schumann was a huge admirer of Chopin's music, and he used melodies from Chopin and even named a piece from his suite Carnaval after Chopin. This admiration was not reciprocated.Franz Liszt was another admirer and personal friend of the composer, and he transcribed for piano six of Chopin's Polish songs. However Liszt denied that he wrote Funérailles (subtitled "October 1849", the seventh movement of his piano suite Harmonies Poétiques et Religieuses of 1853) in memory of Chopin. Although the middle section seems to be modelled upon the famous octave trio section of Chopin's Polonaise in A flat major, Op. 53, Liszt said the piece had been inspired by the deaths of three of his Hungarian compatriots in the same month.Brahms and the younger Russian composers, too, found inspiration in Chopin's examples.[48]Chopin performed his own works in concert halls, but more often in his salon for friends. Later in life, as his disease progressed, Chopin gave up public performance altogether.Chopin's technical innovations also became influential. His Préludes (Op. 28) and Études (Op. 10 and Op. 25) rapidly became standard works, and inspired both Liszt's Transcendental Études and Schumann's Symphonic Études. Alexander Scriabin was also strongly influenced by Chopin; for example, his 24 Preludes, Op. 11, are inspired by Chopin's Op. 28.http://en.wikipedia.org/wiki/Chopin================================*Note:Support the artist, their families and their legacy by purchasing their music.

Author: tHEnOOSEsWINGS
Keywords: Nikita Magaloff Chopin Waltz
Added: May 15, 2008

Nikita Magaloff Chopin Waltz for piano E major KK IVa/12

================================Frédéric Chopin Waltz for piano in E major, KK IVa/12, CT.220 (B.44) Nikita Magaloff, piano.================================Chopin reinvented the étude,[citation needed] expanding on the idea and making it into a gorgeous, eloquent and emotional showpiece. He also used his études to teach his own revolutionary style, for instance playing with the weak fingers (3, 4, and 5) in fast figures (Op. 10, no. 2) and playing black keys with the thumb (Op. 10, no. 5).Several of Chopin's pieces have become very well known—for instance the Revolutionary Étude (Op. 10, No. 12), the Minute Waltz (Op. 64, No. 1), and the third movement of his Funeral March sonata (Op. 35), which is often used as an iconic representation of grief. Chopin himself never named an instrumental work beyond genre and number, leaving all potential extra-musical associations to the listener; the names by which we know many of the pieces were invented by others. The Revolutionary Étude was not written with the failed Polish uprising against Russia in mind; it merely appeared at that time. The Funeral March was written before the rest of the sonata within which it is contained, but the exact occasion is not known; it appears not to have been inspired by any specific personal bereavement.[47] Other melodies have been used as the basis of popular songs, such as the slow section of the Fantaisie-Impromptu (Op. posth. 66) and the first section of the Étude Op. 10 No. 3. These pieces often rely on an intense and personalised chromaticism, as well as a melodic curve that resembles the operas of Chopin's day — the operas of Gioachino Rossini, Gaetano Donizetti, and especially Bellini. Chopin used the piano to re-create the gracefulness of the singing voice, and talked and wrote constantly about singers.Chopin's style and gifts became increasingly influential. Robert Schumann was a huge admirer of Chopin's music, and he used melodies from Chopin and even named a piece from his suite Carnaval after Chopin. This admiration was not reciprocated.Franz Liszt was another admirer and personal friend of the composer, and he transcribed for piano six of Chopin's Polish songs. However Liszt denied that he wrote Funérailles (subtitled "October 1849", the seventh movement of his piano suite Harmonies Poétiques et Religieuses of 1853) in memory of Chopin. Although the middle section seems to be modelled upon the famous octave trio section of Chopin's Polonaise in A flat major, Op. 53, Liszt said the piece had been inspired by the deaths of three of his Hungarian compatriots in the same month.Brahms and the younger Russian composers, too, found inspiration in Chopin's examples.[48]Chopin performed his own works in concert halls, but more often in his salon for friends. Later in life, as his disease progressed, Chopin gave up public performance altogether.Chopin's technical innovations also became influential. His Préludes (Op. 28) and Études (Op. 10 and Op. 25) rapidly became standard works, and inspired both Liszt's Transcendental Études and Schumann's Symphonic Études. Alexander Scriabin was also strongly influenced by Chopin; for example, his 24 Preludes, Op. 11, are inspired by Chopin's Op. 28.http://en.wikipedia.org/wiki/Chopin================================*Note:Support the artist, their families and their legacy by purchasing their music.

Author: tHEnOOSEsWINGS
Keywords: Nikita Magaloff Chopin Waltz
Added: May 15, 2008

Nikita Magaloff Chopin Waltz for piano E major KK IVa/12

================================Frédéric Chopin Waltz for piano in E major, KK IVa/12, CT.220 (B.44) Nikita Magaloff, piano.================================Chopin reinvented the étude,[citation needed] expanding on the idea and making it into a gorgeous, eloquent and emotional showpiece. He also used his études to teach his own revolutionary style, for instance playing with the weak fingers (3, 4, and 5) in fast figures (Op. 10, no. 2) and playing black keys with the thumb (Op. 10, no. 5).Several of Chopin's pieces have become very well known—for instance the Revolutionary Étude (Op. 10, No. 12), the Minute Waltz (Op. 64, No. 1), and the third movement of his Funeral March sonata (Op. 35), which is often used as an iconic representation of grief. Chopin himself never named an instrumental work beyond genre and number, leaving all potential extra-musical associations to the listener; the names by which we know many of the pieces were invented by others. The Revolutionary Étude was not written with the failed Polish uprising against Russia in mind; it merely appeared at that time. The Funeral March was written before the rest of the sonata within which it is contained, but the exact occasion is not known; it appears not to have been inspired by any specific personal bereavement.[47] Other melodies have been used as the basis of popular songs, such as the slow section of the Fantaisie-Impromptu (Op. posth. 66) and the first section of the Étude Op. 10 No. 3. These pieces often rely on an intense and personalised chromaticism, as well as a melodic curve that resembles the operas of Chopin's day — the operas of Gioachino Rossini, Gaetano Donizetti, and especially Bellini. Chopin used the piano to re-create the gracefulness of the singing voice, and talked and wrote constantly about singers.Chopin's style and gifts became increasingly influential. Robert Schumann was a huge admirer of Chopin's music, and he used melodies from Chopin and even named a piece from his suite Carnaval after Chopin. This admiration was not reciprocated.Franz Liszt was another admirer and personal friend of the composer, and he transcribed for piano six of Chopin's Polish songs. However Liszt denied that he wrote Funérailles (subtitled "October 1849", the seventh movement of his piano suite Harmonies Poétiques et Religieuses of 1853) in memory of Chopin. Although the middle section seems to be modelled upon the famous octave trio section of Chopin's Polonaise in A flat major, Op. 53, Liszt said the piece had been inspired by the deaths of three of his Hungarian compatriots in the same month.Brahms and the younger Russian composers, too, found inspiration in Chopin's examples.[48]Chopin performed his own works in concert halls, but more often in his salon for friends. Later in life, as his disease progressed, Chopin gave up public performance altogether.Chopin's technical innovations also became influential. His Préludes (Op. 28) and Études (Op. 10 and Op. 25) rapidly became standard works, and inspired both Liszt's Transcendental Études and Schumann's Symphonic Études. Alexander Scriabin was also strongly influenced by Chopin; for example, his 24 Preludes, Op. 11, are inspired by Chopin's Op. 28.http://en.wikipedia.org/wiki/Chopin================================*Note:Support the artist, their families and their legacy by purchasing their music.

Author: tHEnOOSEsWINGS
Keywords: Nikita Magaloff Chopin Waltz
Added: May 15, 2008