Liner Notes

Embrace the Emotional Journey of “Deep Mist” – A Cinematic Music Album by David E. Gonzalez

In a world where music serves as a universal language, composer and musician David E. Gonzalez invites listeners on an emotional journey through his captivating album, “Deep Mist.” This collection of music stands as a testament to the power of creativity and its ability to heal and inspire, resonating with a diverse audience of music enthusiasts, film aficionados, and anyone seeking solace in the beauty of art.

“Deep Mist” is a symphony of poignant, melancholic, cinematic, and synthetic textures that weave together seamlessly to create an immersive experience. Drawing on his mastery of synthesizers, keyboards, bass guitar, classical guitar, and percussion, David crafts a melodic landscape that is both timeless and contemporary. With over two decades of arranging experience, his compositions possess a maturity and depth that sets them apart.

David E. Gonzalez is a seasoned musician, composer, and arranger with a passion for evoking emotions through his music. With decades of experience and a diverse array of musical influences, David's work transcends genres and touches the hearts of audiences worldwide. His latest album, "Deep Mist," stands as a testament to the power of music to heal and inspire.

The album comprises ten soul-stirring songs: “Deep Mist,” “Magic Beans,” “Inland Seagulls,” “Basket Weaver,” “Moon Flower,” “Jungle Lullaby,” “Sailor’s Dream,” “Seventh Madness,” “Crystal Reef,” and “New Moon.” Each track is a testament to David’s profound ability to connect with his audience on an emotional level. From the hauntingly beautiful “Inland Seagulls,” featuring the Native American flute and djembe, to the contemplative and mesmerizing sounds of “Jungle Lullaby,” the album takes listeners on a transformative journey.

But what makes “Deep Mist” even more captivating is the story behind its creation. The music was composed during a challenging time in David’s life, marked by personal loss and grief. Like the great masters before him, David turned to his craft as a source of solace and expression. He discovered that through music, he could capture emotions that eluded words, transcending conventional language to convey the depth of his feelings.

In his own words, David shares, “Ludwig van Beethoven composed some of the most beautiful music during the most difficult times in his life. That would prove true for me, too. Somehow, the ‘Deep Mist’ compositions express exactly how I feel about a specific time in my life. They embody my feelings.”

The album’s profound impact on listeners is evident as it promotes deep sleep to restless minds, offering a therapeutic experience that is both soothing and introspective. The compositions’ evocative nature transports listeners to realms of beauty and introspection, making it ideal for music lovers, film enthusiasts, and those seeking emotional catharsis.

“Deep Mist” is available for streaming and download on popular music platforms such as Apple Music/iTunes, Spotify, and YouTube Music. David’s masterful use of sound design and arrangements suggests that the music could easily translate into orchestral performances, further extending its appeal to a wider audience.

This album is not just a collection of songs; it’s an invitation to embark on a profound and transformative musical odyssey. Embrace the enchanting world of “Deep Mist” and discover the healing power of music.

For more information and to listen to “Deep Mist,” visit Spotify; iTunes/Apple Music; YouTube.

About David E. Gonzalez:

David E. Gonzalez is a seasoned musician, composer, and arranger with a passion for evoking emotions through his music. With decades of experience and a diverse array of musical influences, David’s work transcends genres and touches the hearts of audiences worldwide. His latest album, “Deep Mist,” stands as a testament to the power of music to heal and inspire.

Emotional Motion

It was like turning on a light switch.  I found myself up in the middle of the night.  My brain was running with the stresses of the previous day, and I wasn’t looking forward to what may come the next day.  Stress had my brain working overtime on “stuff” that would probably not matter by the end of the next day.  I tried to clear my mind, but the effort made it harder to go back to sleep.  I decided to try the one thing that seemed to work before.

Ludwig van Beethoven composed some of the most beautiful music during the most difficult times in his life.  That would prove true for me, too.  Although, some would argue that creating a mood or feeling is one of the most important elements to work on, when creating a composition, I was taught differently.  I was taught that composing music is much like building a chair.  If the finished work evokes any kind of feeling, it is an unintentional effect.  To some, it is a phenomena to be studied—as it can evoke every type of emotion.  For the composer, emotions work on the fringes of the creative process.  Composing is first a craft.

For me composing, performing and recording are a combined process.  After developing an idea, I have to work on the performance aspect of the composition.  The technical part of recording the composition is also deeply embedded in the process, as well as sound design.  Sound design can alone be a very technical process that can be very emotionally distracting.   With that said, If I had started out in a specific emotional state, by the end of the creative process I could end up experiencing a diverse set of emotions.  The emotions can be totally random and not associated with the original mood I was looking to convey.  So, relying solely on how I feel could be a self-defeating element.  It can kill the creative process.

Somehow, the “Deep Mist” compositions express exactly how I feel about a specific time in my life.  Using words to express how I felt at the time would mostly miss the mark.  Yet, I don’t believe that was the goal in recording these compositions.  However, when listening to these recordings I can, once again, go back to that time and experience it in a similar way.  It transcends conventional language.  They embody my feelings.

That time was sad, but I was at peace.  Time passes, so I put on “Deep Mist” in the middle of the night.  I wondered how many songs-in I would be, before going back to sleep.  I don’t remember listening further than the middle of the first song.

Fantasy in C minor

Included in the standard repertoire of flutists the world over is the Fantasie by Gabriel Fauré, Op. 79.  It seems that the piece was not composed as a result of a flash of inspiration.  Paul Taffanel asked Gabriel for a piece suitable for his flute examination at the Paris Conservatoire.  I am not completely fond of every aspect of Fauré’s Fantasie, but it does communicate a certain charm, and the story behind the composition of this piece is the inspiration for my attempt at my own “brilliant” composition.  I must confess that my teacher, Martin Orenstein, introduced Gabriel’s Op. 79 to me with a “story”, as was his custom, including some details I am not sure are commonly related.  It was his way to try and coax me into accepting it as an examination piece for myself.  Mr. Orenstein’s stories seemed very interesting to me, especially the stories that would lead me to accept the most difficult of pieces to play.

In the summer of 2011, I was inspired to take a turn at composing a “brilliant” piece that would be both fun and challenging to play.  I started by improvising with a theme in C minor that had been rolling around in my head for some time already, and It would take several nights of intense improvisation on the piano to settle on the form and development of the theme.

They say that all compositions come out as a result of improvisation, and showing off a little bit can also be a bit of fun. Having an original composition to showcase both composition and performance skills is not entirely a bad motive, either.  While this piece offers a bit of lyrically melodic content for both the piano and the flute, It also contains rhythmic challenges for the pianist and poses some ethereal harmonic progressions typical of a fantasy piece.

Fantasy in C minor for flute and piano is now available on the www.sheetmusicplus.com website. This printing contains the score and separate parts for the piano and the flute (34 Pages of Music).  It is easy on the ears, not at all avant-garde, and it does not push too much in an experimental way.  It should be about 4:42 minutes in length.  The adante tempo marking is flexible (80-86 bpm), and the tempo should become faster at about the second half of the piece.  Dynamics should fluctuate at the beginning and grow in intensity as the piece moves towards the end.   Phrases should breathe and not remain static.

Fantasy in C minor for flute and piano is the 5th cut on my album release of Adagio in Praise for flute and orchestra.  You can find this release at your favorite online store.