Forest Song Piano

[Avice]

Forestof Piano is a story that follows Kai Ichinose, a boy who lives in the red light district but escapes at night to play the piano in the forest. Shuhei Amamiya, the grade-school son of a professional pianist, transfers to Moriwaki Elementary, Kai's elementary school. But it doesn't take long before Shuhei is picked on by the class bullies, and gets involved in a dare to play the mysterious piano in the forest, leading to his meeting with Kai, who seems to be the only one capable of getting sound out of the thought-to-be broken piano. Kai's ability earns him the respect of Shuhei and his music teacher, former master pianist Sosuke Ajino. Both Shuhei and Ajino try to get Kai to take proper piano lessons, but Kai is at first resistant to refining his piano-playing technique. However, after hearing Sosuke play a Chopin piece he just can't seem to play himself, he relents.

Forest of Piano is written and illustrated by Makoto Isshiki. It was published by Kodansha in Japan, who first serialized the series in the seinen manga magazine Young Magazine Uppers from 1998 to 2004, and later in Weekly Morning from 2004 to 2015.[3] The series was published into 26 tankōbon volumes, with the first volume being released on August 6, 1999,[8] and the final volume released on December 22, 2015.[9]

An anime television series adaptation produced by Gaina aired from April 8, 2018, to April 14, 2019, on NHK.[38][4] The first season is directed by Gaku Nakatani. Ryūtarō Suzuki as the series director, Aki Itami and Mika Abe are in charge of series composition, and Sumie Kinoshita is handling character designs. Harumi Fuuki is composing the series' music.[39] The anime was originally listed to air for 12 episodes,[40] but was later announced to air for 24 episodes.[41] The 24 episodes will air in two seasons, with the first season airing from April to July 2018, and the second season airing from January to April 2019.[42] Hiroyuki Yamaga will take over as director for the second season, while the most of the staff and cast will reprise their roles.[43] Netflix have announced that they had acquired exclusive streaming rights for the series worldwide, and simulcast the series in Japan, and released the series globally in September 2018.[44]

The movie adaptation debuted in 9th place at the Japanese box office the week it came out, unusually high for a non-franchise animated film.[46] By the end of the year, it had grossed the equivalent of $1,555,297, ranking 119 on the overall yearly box office chart for Japan.[47] In South Korea, the film played for 50 weeks and grossed the equivalent of $182,884.[48] The film was nominated for the 2008 Japan Academy Prize for Animation of the Year.[49]

This week, I finally visited the wood workshop where my new, old piano is currently being restored. You may scroll down to get to the piano stuff right away, or you may choose to read my entire Black Forest adventure. As I see it, the traditional feel for wood in this area helps me out when it comes to restoring my newest purchase: A Drr fortepiano made in Vienna around 1830.

With that much wood all around you, it makes sense to use it for almost everything. First of all, the people of the Black Forest build houses, which even today are at least partly made of wood. We drove through cute little villages which one should think would only exist in fairy tales or a distant past:

If you study these photos more closely, you will discover many applications for wood. The enormous, hipped roofs, which traditionally are made of chipped wood, were invented to protect from masses of snow. Hay was stored on the loft to keep the animals alive during the long winter. But talking about winter, it dawns on us that another occupation than farming would be necessary during those dark and quiet months. Maybe, just maybe, one could manipulate some of that overflowing forest material?

This state and position make it rather easy to inspect the basic structure and condition of the instrument. The construction is partly open underneath, which allows for studying the soundboard and ripping from the underside:

Here, we can actually control that the joints and the ribs are tight and intact. I think it looks fantastic for its age! Do you see the part inside with the green felt? It is the piano drum! Together with the bell inside the piano, it will make some great noise when the Janitschar Pedal is employed!

Did you notice any problems with my piano? Yes, you are right. There are some problems we have to deal with and certain things that must be fixed before it reaches a playable state. But it is fixable! Next week, I will talk about the necessary wood repairs.

Finally, one year he got an elk. He was all alone when he shot the elk, and he told me about this eye contact moment. It gave me chills. He dressed the elk in the proper way, which he was very proud of, and carried the elk meat all the way down the Rocky Mountains alone, hundreds of pounds of it. I would come over, and he would serve it to us. It lasted for a long time. There was an elk rug on his floor when you walked in his house.

Abigail Holmes: There is a strong sense of place in many of the songs, being out in nature where Chris lived, the idea of Ghosts of the Forest. I had the feeling from listening to the songs that this was partly a real place, but also a mystical place. In my thinking, ideally the visual design would help the audience enter into a sort of journey with the musicians, enter into a world where this music would be played and shared, and step out of the everyday for the time of the show.

There were 15 or so that made it to potentially being songs, from which 10 or something eventually made it to the stage. He sent me the tape of these developed songs, now with some lyrics, guitar, and drums that he and Bryce had spliced together. Some of it, they would take one drumbeat and marry it to another one, and build the song with a bridge and verses and stuff.

Jennifer Hartswick [vocals]: I loved this music. I came in after the recording process, so I came in with really fresh ears to a project that was basically complete. The first time I heard any of the music was when I heard the record, and I was driving, just weeping. I had to pull over, not necessarily from the sadness, but the intensity of the music. I feel like it was written with a different purpose than anything Trey had written before, and played with a different intent.

Abigail Holmes: The backdrop was one of the first elements in the design. I had been making some paper art, just for myself. As we talked about the project, I had the idea that those pieces could be the basis for a backdrop. Since the original paper pieces are handmade, there is a very organic quality to them. The pieces are placed slightly differently, shaped slightly differently. The dimensional pieces of the drapes were applied by hand, they feel very different from something which is made by machine. That seemed true to the nature and forest references, the raw quality of the emotional content of some of the songs, and the nature of the band and how they played.

Abigail Holmes: The patterns of the drape and the thin vertical panels of the LED were partially conceived as non-literal woods, the shapes on the drape nodding to the filtered light [as seen] through leaves in the woods. They were designed to allow a sense of depth, so the visuals could sort of float or recede in portions of the show. Maybe that could feel like a disconnect from an everyday reality, and create space around the music, let it be expansive.

Trey Anastasio: Jeff was extremely helpful to me throughout the entire process. He was involved from the very beginning. I would make changes in the arrangements and he would make a new chart that reflected the changes. Then I would change my mind and change it again. By the time we were done, there was a stack of charts that had grown thicker than War and Peace, which Jeff and I both thought was really funny.

Abigail Holmes: The first night was an amazing experience. There was a room full of people who had not heard any of the music before. It was really interesting, you could feel people listening in a different way, not expecting the next sounds, but taking them in as they happened. Of course, people were listening to the streams afterwards, so no other night was quite like that.

Abigail Holmes: I operated the lighting and video for all of the performances. I definitely continued to tweak and rework the both the lighting and the video, changing the lighting looks, and remaking and adding to the video pieces, especially the jam sections. Some portions of the show were fairly consistent, but the instrumental and jam sections were all executed from a manual, improvisational playback set-up for lighting and especially for video. Those portions of the show were improvised in the moment, and were different from night to night.

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School of Rock is happy to serve Wake Forest and surrounding communities in North Carolina with quality music lessons from real, practicing musicians. We teach everything from the classics of singing to piano, bass guitar, drums, and more. Students can learn popular local styles such as classic and progressive rock. At School of Rock, they can perform live shows and develop your skills in a supportive and encouraging learning environment. With enough practice, they may one day rise to the level of performing at one of our many local venues such as Bud's Tavern, a little biker bar in the woods that has an amazing outdoor stage area, and The Hideout/Lonerider Brewery.

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