§ 00 / AN OPEN APPLICATION — AI SUMMER RESIDENCY · TUSCANY 2026
Hi Rick. Let’s make something out of a blank page.
I’m Héctor González Sánchez — pianist, composer, producer, founder of Glocal Sound, and applicant for the strangest, best summer job on Earth. This page is my application. It makes sound. Touch things. Scroll slowly, like a good fade-out.
(Headphones recommended. Espresso optional but encouraged.)
§ 01 / THE EXPERIMENT, IN YOUR WORDS
“Can someone with legendary taste + the ability to actually make things with code/AI create something genuinely new and interesting?”
— the job listing
My answer: yes — if the teaching feels like making music, not like an IT onboarding. That’s the whole pitch. Everything below is evidence.
Héctor González Sánchez · Elche, Spain. First national tour at age ten — as an actor, in Waiting for Godot. Been waiting for this gig since.
§ 02 / WHO’S ASKING
A musician who builds. A builder who teaches.
I grew up backstage — the family business was theatre, the family table was a rehearsal room. I picked the piano and never put it down: conservatory-trained, Best New Composer at the Spanish Music Awards in 2011, scores premiered from Madrid to the New York City Center.
Then I built things. Glocal Sound — my studio for audio branding, bespoke music and sync, running since 2005. Canciona — co-founded and operated, 40,000+ personalized songs produced with 100+ creators, before I sold my stake to get back to the studio. And the Glocal Sound Academy, where I now teach working musicians how to build careers that last.
These days AI sits inside all my processes — virtual orchestras, agents doing the paperwork, small strange tools that didn’t exist yesterday. House rule, in writing: human artists first. The craft changed. The listening didn’t.
§ 03 / EXHIBIT A — THE TWO-MINUTE CUT
Two minutes, no script.
The form asks for a video that isn’t “I planned a trip with AI.” Agreed. Here’s how I actually use it — in two minutes, with my own hands.
2-MIN INTRO FILM — DROPS HERE
§ 04 / LESSON ZERO — NO CODE, I PROMISE
How a machine improvises
A language model never plans ahead. It listens to everything played so far and asks one question: what’s a plausible next note? Then it rolls a weighted dice. The shape of that dice is called temperature — and you’ve been producing it your whole life. Press play. Move the fader. Hear the idea.
Now swap notes for words — that’s Claude. Whole lesson. What the machine can’t do is know when it’s good. That seat stays human, and that seat is yours.
§ 05 / INTERMISSION — A TOY
The harmonic field
A multiplication table of frequencies: each cell is fundamental × row × column. The big number is the Pythagorean reduction (base 10) of every digit of the exact frequency, shown small underneath in hertz. The color is its pitch class. Paint your own fundamental — and set the tempo — and the whole page recomposes around it. Real octaves, dog whistles included.
Both are live controls — type any frequency, slide the tempo, and the entire page retunes and regrooves around your choice.
(Twenty minutes of vibe coding, one espresso. This is Week 3 material.)
The circuit of nines
Keep doubling a number and reduce it to its digital root: in base 10 you get a six-step circuit (1 → 2 → 4 → 8 → 7 → 5), a pendulum swinging 3–6, and 9 holding still in the middle like a producer. Halving walks the same road backwards — so here both voices travel it at once, ×2 and ÷2 in counterpoint. Change the base, and the whole geometry recomposes.
§ 06 / THE PLAN
Thirty days, four movements
A syllabus the way a producer would write one: loose enough to follow the good ideas, tight enough to ship.
( each movement hums — rest a finger, or a cursor, on a card and it plays its chord )
MOVEMENT I · WEEK 1
Tuning
Claude on every device, zero jargon. We talk to it like a session musician: clear brief, fast takes, keep what’s true.
MOVEMENT II · WEEK 2
Base
Agents take the boring parts — mail, research, admin. The sacred parts stay yours.
MOVEMENT III · WEEK 3
Improvisation
Vibe coding: one small, strange, beautiful thing per day. Shipped before lunch.
MOVEMENT IV · WEEK 4
The Record
One real piece, yours, start to finish. Something genuinely new — the experiment, answered.
Subject to change based on weather, visiting legends, and espresso quality.
§ 07 / EXHIBIT B — THE LONG CUT
Me, teaching, in the wild.
Two minutes proves I exist. This one proves the method: a real session with a real beginner, zero to working — patiently, in plain language.
LONGER SESSION FILM — DROPS HERE
§ 08 / WHY ME, IN THREE VOICES
The teacher
Teaching since 2003 — from conservatory piano to business strategy for working musicians. Founder and lead mentor of the Glocal Sound Academy, 300+ alumni. My specialty is exactly this brief: brilliant people, zero code, big curiosity.
The builder
I ran operations for a company that produced forty thousand songs. I live in the current stack — Claude, agents, local setups — and build with it daily. This page is the demo: designed, written and coded with the exact workflow I’d teach you.
The musician
Pianist since before I could reach the pedals. We already share a language — and I know how to listen in a room where the talent is the instrument. Also: enthusiastically, professionally pro-gluten.
“The lush score by Héctor González — haunting and driving at the same time… a mixture of Spanish heartbeats.”
— The New York Post, on Pálpito at the New York City Center