My own pieces

This page is for testing purpose to expose my musics.

Some of the records, even if stated as ‘completed’, may happen to be updated. It's because I'm studying in mixing technologies.

Index

• Terms of Use
• Completed Pieces
  • Midnight Downtown
  • June
  • Jingle #1
• Incomplete Pieces
  • Without Words
  • Foggy City
  • Overnite Syndrome
  • Early Times
• Appendix: My way to mastering

Terms of Use

All musics published here are copyrighted by the author TackYMT. All rights are reserved.

The author permits use for private only. Downloading and/or duplication (tape, DAT, DCC, CD-R, MD, HD, NVRAM etc.) shall not exceed technically valid range for the private use.

Anyone who want to use the contents for the purpose beyond previous permission shall contact me beforehand.

Disclaimer

The contents are provided by the author “as is” and any express or implied warranties are disclaimed.

The author shall never be liable for any damages, including, but not limited to, financial, time, or mental damages arising in any way out of the listening to any of the content published here.

Completed Pieces

Midnight Downtown

Notes

This tune is named after the initial motivation. Unfortunately, the tune is failed to reflect the motif but rather gives an impression like BGMs often found in supermarkets.

The high tones sung by the saxophone and the sober but indispensable backing by the electric piano make notable contrast. The frequent and tedious reputation, despite the shortness of the piece, spoils a bit.

Technically, the tension notes tangled by the electric piano and the guitar are worthy of attention. The code transition tends to be felt orthodox although it isn't actually.

June

Notes

A wetty fusion with smooth flavor.

It feels like the breathy saxophone's voice passing through calm backings. Attention to the contrast of backings' going dynamic and coming quiet back and forth, and the rich reverb inbetween.

Here is the (translated) quotation from the liner–notes attached to the album Another World.

Sometimes, an impressive melody happens to be burnt up to the ears when walking down the campus in the late night with playing the whistle of an impromptu. (One may or may not call such a phenomenon reflain's calling.)

This tune was born from such phrases in the late May (,2000), with additive “rainy” flavors, and formed into fusion featuring the Tenor saxophone.

I had decided to make the tune saxophone–centric as soon as the main phrase had come. The reason to name the tune June and to add the “rainy” flavors were that it smelt like raining. The mentality that I had those days might be the another reason. (In Japan, we have rain–after–rain days in June. We call such season Tsuyu, or Bai–u (梅雨))

When the main phrase had got arose, I had plenty of complex problems. I believe that gave chaotic insanity throughout this tune.

Superfluously, this work was sometimes more creative than I had expected, making the tune bloat beyond my capacity. (So it is very strange that it took the least time than before.)

Erm, someone told me that this tune sounds like A Garota de Ιpαnεmα.

Jingle #1

Notes

This is for the jingle rung on loging in. How silly the jingle GNOME rings on log–in! I felt so and hacked up an alternate one by myself.

Even though this one keeps some silliness for daily use, it still is far better than GNOME's original one. It would be worthless for Windows users, however — it is up to you to decide. (I believe the works done by the guys at Redmond.)

For users of AC97–based soundcards, I would recommend the 48kHz version.

Incomplete Pieces

Without Words

Notes

The initial motivation was something like a love song without words. With the long–term composing, though, has blushed up the piece to the state where the initial motivation is barely identified in the solo part by the electric piano only,

The entire structuring of this tune has been almost 80% completed. (The things still left to be done are coda and its leading 3 phrases.) The need of arrangement is still high yet because there should be more ad–libness and because the code transition should be less old–fashoned.

It is an accident that the A–melody line of this tune sounds pretty much like OZAKI Yutaka's masterpiece I Love You, quite a few people points out. The truth is that I had never heard of his work until the motif of this tune had got established, thus there wasn't single possibility to “copy” his. In fact, the first time I encountered his work was a seminar or the like in the University. I remember I suddenly noticed that his work sounds like mine at that time.

By the way, the longer span of composing has exposed interesting phenomena — the late half of the tune has different trends of code transitions and tension notes to the early half. It can be a fun for you good at solfeggio to analyze such viewpoints, can't it?

Foggy City

Notes

Trying what people calls minimal music should be fun, I thought. Err... the progless has been stalled for so long...

At the very least, I succeeded to direct the atmosphere of some suspense, did I?

Overnite Syndrome

Notes

Ingredients from whistles. Being stalled for out of motivation.

Early Times

Notes

Tried to change the rhythm pattern to break the mannerism. Any rhythm would be OK at that time. Regletting now. (Whoa?!) Em, stalled, too.

I emulated blue notes, even though it would be good for me not to do. But this way, too, might be possible because the code transition gets accidental but funny.

Appendix: My way to mastering

I shall be back to write the rest. Stay tuned!

Equipments

• Roland SC–88VL (Remodelled to have optical output)
• ONKYO SE–U55X
• YAMAHA UX–16

Softwares

• smfconv , programmed by myself
• Sound eXchange
• dctresampler (private; will be published as soon as being ready) , programmed by myself