The Piano Sessions Volume I

” The Piano Sessions Volume I ”

 – Bryan Breaux

  1. Only Time Will Tell (2:18)

  2. Missing You (3:48)

  3. Smile For Me (2:26)

  4. Forbidden Love (3:06)

  5. Know Peace (2:13)

  6. Loyalty (7:07)

  7. Coming Home (2:40)

  8. Mourning Dew (2:43)

  9. Ocean Fields (3:34)

  10. Reunion (4:31)

  11. Seduction (3:46)

  12. Begin Again (4:57)

  13. Why I Believe (7:00)

All Songs Composed and Performed by Bryan Breaux / B.M.I..

Recorded and Produced by Bryan Breaux at Hurst Creek Studio in Lakeway, Texas.

Copyright 2016.
“The Piano Sessions Volume I” is the first collection of piano music that I have composed, recorded and released throughout the years.

People usually know me as being a drummer. However, most people do not know that the piano is my favorite musical instrument. This means that most have never even heard me play a piano. Well, this all changes now.

Recently, I was fortunate enough, or lucky enough, to have purchased a beautiful antique 6.5′ baby grand piano… W. W. Kimball, Chicago, 1924.

It is a 92 year old beautiful piano made from Mahogony and Ebony wood, Brass and caste Bronze with real Ivory keys.

I used four different microphones to record the piano… three on top… one underneath. 

Having all of these microphones was the best way to capture the essence of the piano.

Having the four different microphones allowed a true recording or a true aural representation of the piano.

I spent a good two weeks,taking my time, to record all the songs.

I usually recorded two to three tunes a day.

“Only Time Will Tell” is the first song. I named it by using those four letter words. LOL. Actually, this is really just a chordal progression that I play through using blocked chords and arpeggios… a kind of improvisation… with no actual melody.

“Missing You” is the next tune. This is a chordal progression and melody that I composed many years ago… back in 1990.  The flowing left hand arpeggios support the simple beautiful melody. Just as I do with most of my piano tunes, I play it over and over… like a round… each time, playing something slightly different.

“Smile For Me” is the third song of the album. This is a short tune that was composed in 2008. It is also a chordal progression that has no written melody. This makes it an improvisational tune.

“Forbidden Love” is next. This tune was originally composed in 2008. The sequential descending melody is beautiful. Surprisingly, this tune can be viewed as having a musical form the same as 12 Bar Blues. I find this funny. I never intended for this to happen. I only noticed the form much later. 

“Know Peace” is the fifth song of the album. This tune is named with a play on words. I initially composed this chordal progression and melody on August 11, 1990 in a banquet hall at a luxury hotel in Carmel, CA.. Of course, it is a dusty, but a beauty.

“Loyalty” is the sixth song. I composed this chordal progression and melody earlier this year, 2016. This also happens to be the longest song of the album at 7:07! If there is ever a rule about how long a song should be or how many times one should play through the same chordal progression over and over… well screw it and the rules. Just look at Pachebel’s ‘Canon in D’! When I was recording this one, I guess that I just did not want the song to end. I just kept going and going… just like a run on sentence. I hope that it is not too much. I hope you all enjoy. I sure did!

“Coming Home” is the seventh tune. I composed this chordal progression this year, 2016. This tune is another one without an actual melody. This actually can be more enjoyable than when a song has a written melody. It allows more freedom for the pianist. It forces one to embellish and improvise on the spot. I kept it short and sweet. I am not too sure on how and why this one does not come to a cadential ending. Honestly, this is a ‘pet peeve’of mine! I want the music to always “bring me back home”… so to speak. Well, even I can go against myself.

“Mourning Dew” is the eighth song. It also has a title that is a play on words. I composed this chordal progression and melody on August 16, 2008. The melody is very catchy and very memorable. 

“Ocean Fields” is the ninth song… and the most haunting one of the album. I composed this chordal progression and melody in 1990. I do not recall where the title came from. The second phrase of the melody has the minor/Major 9th chord that just makes one cringe. After six of the melodic phrases, it has to go elsewhere… the Major harmonic lift pushes it there. I love the simplicity of this tune. Less is more. Art is simple.

“Reunion” comes next at the tenth song. Of all my piano compositions, this one truely stands out. I originally composed the chordal progression of this song on June 1, 1990 by playing a game of naming all of the chords that have a F#. I then picked out the eight chords that make up the progression and placed them in their order. The melody came next by using the chordal tones. The interlude takes us all elsewhere with the minor and diminshed arpeggios. Back in 1991, I even took the time to arrange this tune for three marimbas and also performed it once at the Univ. of North Texas’ College of Music. Honestly, I can say that this may be one of my favorites. 

“Seduction” is the next tune. I composed this chordal progression and melody on June 17, 1990. The Summer of 1990 was a very productive and creative season for me musically. I was finished with my Freshman year studying Music Theory at the Univ. of North Texas’ College of Music. I spent a little time back home in Groves with my family. However, most of that Summer, I was in New Mexico, Arizona and California. The South-West must have made an impression on me.

“Begin Again” is the twelth tune. This was composed on February 27, 2008. It has a ‘Jazz-like’ chordal progression. The melody becomes one that you can not forget… very catchy… singable. This kind of melody is the best. Just when you think the song is over, I fool us all and keep it going.

“Why I Believe” is the thirteenth and final song of the album. This also happens to be the most recent composition of the album. I composed this tune on the 92 year old beauty in early September 2016. I guess I also was having too much fun playing this song during the recording process. It just goes on and on… for exactly 7 minutes. I felt that this was a great closure for “The Piano Sessions Volume I”.

Looking back, I could have arranged all of the songs by alphabetical order or by shortest to longest. In the end, I chose to start at the musical note D, which sits in “the dog house”…between the two black keys… in the middle of the album cover art. I then traveled the chromatic scale… ascending… song by song… lifting!

I forgot to mention that the cover art photo is a photograph I snapped of an old beat up, worn down piano that I ran into in some restaurant out Westward… I believe that it may have been in Alpine, TX or San Angelo, TX. I do not remember. But… No. This is NOT the piano that I used to record the album. Ha ha.

Thank you for taking the time to listen to my music.

Thank you for taking the time to read this blog.

I hope that you all enjoy!

I am a musician… a clear channel… a conduit… I have no idea where the music comes from… I have no idea what kind of music it is… I just create… I let it flow through me… I gift it to you all just as it was gifted to me… no pretense… no gimmicks… no bullshit.

Just a piano and me.

Peace and love,

Bryan Breaux


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