Every May/June is a time for celebration: schools let out, families reunite, summer begins, andglasses graduate. This past May/June, the University of Virginia’s Class of 2012 walked the Lawn and wore the Honors of Honors, marking a very large milestone in thousands of student’s lives. However, there was another cLass that requires just as much praise and excitement. Read More
Sengoku Basara is pretty simple and easy to understand. It’s far from being complex in nature and it’s wonderful that it doesn’t try to be. Each character epitomizes very general personality characterizations, and with artistic license that appeals to most fans of the fantasy/sci-fi fans genre, the series gives each character a theme color. Such decisions really tickle your insides due to how it makes complicated, epic fight scenes more streamlined, crazy, and fun to watch. Read More
“Inner Mosaic,” the last song in this Songwriting Series, is probably the most serious song yet, venturing into broken, as well as lost, love. I can’t really say that this song arose from experience, since I’ve never suffered from lost love (or even having one, for that matter). The bitterness and longing for a broken past to be whole and true again is a thematic idea that’s pretty popular in dramas and epic romance stories. I thought that I’d give a shot at it (and quickly found that it was pretty emotionally exhausting to put words down and sing the lyrics). Read More
“Yellow Rain Boots” was probably the most fun assignment to write and record. Written as an “opposite” song for a previous MUSI3370 assignment, I recycled “Yellow Rain Boots,” rerecording, remixing, and rebouncing a new version for my final portfolio (hence, why I merged #7 and #9 together). This song quickly became my favorite of the bunch, due to its lighthearted nature and involvement of numerous friends from school. Read More
Sadly, relationships may be destroyed by a simple misunderstanding or a perception of existing inadequacy. Pain, deterioration of personal respect, and reduction of perceived self-worth are common results of relationship failure. The destructive process does not even have to be consciously conducted. Perhaps even without being aware one is doing so, tiny perceived imperfections may encourage latent, hidden anger which is eventually brought to the fore, often repeatedly. “RETRY” exists as a sentiment that relationships require work to succeed. Retrying, and trying again, despite previous issue, difficulties, or problems. Read More
It’s not too often that I watch live dramas during my free time. It seems like I’ve seen a lot since each episode is an hour long and existentially is more exhausting to plow through than 20 minutes anime episodes, but the truth is that I can count all the live action dramas I’ve seen on basically one hand (maybe two). Based on my limited experience, dramas tend to follow similar constructions and pot devices, but Autumn’s Concerto proved to be an utterly new experience in many ways. Read More
Probably one of my most enjoyable pieces to listen to, “Proud” by Norah, was what I conjured from the composer’s lead sheet. “Proud” is the title I gave it as Norah did not title her lead sheet, but I felt that it was quite appropriate, as the song is constantly voiced in a parental or adult manner to a younger child, perhaps a familial, teaching the values of trust, confidence, and perseverance (wow, why can’t I write songs about such deep and applicable stuff…). Read More
Singing is fun. Sort of.
Everyone says singing in the shower makes you sound better, and generally, that’s probably true. The reverberations inside a bathroom definitely give your voice a more operatic feel and helps you sound more powerful (as well as muddying any awkward termination of phrases), but bathroom echo doesn’t help fix incorrect pitch. I consider myself a poor singer, not because I can’t “sing” or because I’m embarrassed about my voice. I’m embarrassed about my ability to never sing on pitch. Read More
Short and sweet, this assignment was. After having sunk so much time into trying to finish “Finding You,” inevitable exhaustion kept me from devoting an equal amount of effort into the subsequent project. However, not all is lost. Though I could no fathom sitting down and layering instruments for very long, I decided to tackle the recording with a new focus on singing. Oh yeah~ First recording ever, with Christopher singing? Bring it on! Read More
Several weeks into the semester, my MUSI3370 course, otherwise known as songwriting, we were tasked to compose lyrics to our own original song. Previous projects required us to either rewrite lyrics to an already existing chord progression, or recompose a chord structure to old lyrics. With full creative liberties, we were allowed to write and compose about anything we so desired, and my project, took a strange turn during it’s development.
If this song were to be categorized, it’d probably be a ballad, from the looks of lyrics, though I will admit, that the style and mood I was aiming for was totally not in that area. I would even go as far to say that it’s a lamenting ballad; though there is no death, it’s a song questioning one’s own purpose in life, or expressing confusion and agony over not being able to understand oneself to a reasonable level. My exposure, outside of this class, to popular music in English has been fairly limited, and I’ve never been a lyrics person (most of my music has no lyrics or lyrics in a foreign language that I don’t understand). Thus, it probably goes without saying that my perception of what kind of song this is might be a bit inaccurate.
As I mentioned before, I had no intention of building a moody, somewhat slow-paced song; I was hoping to end up with a heartily felt song with a quickstep mood. Ideally, I wanted to be able to sing the song while I walk to class, with a light strut in my step. Though the majority of the piece ends up being a bit downtrodden and not entirely happy, that shouldn’t stop the song from having a slightly upbeat style.
That probably even reveals that the penultimate goal of the song is to realize that the right thing to do is move forward. In terms of design, the song is about not remaining static. The gradual of different and similar instruments towards the end creates a thicker, supportive atmosphere for which the vocalist can sing stronger and more confidently. There are moments, such as the musical interlude, where the musical intensity skyrockets, reminiscent of the creative and inspirational bursts we carry within us. The two main instruments in this piece are the harp and piano (with strings serving both a lyrical and supportive purpose); the harp’s resonance and sensitive timbre make the song more friendly, while the piano’s percussion-like keys give its intention and drive. Short responses, trills, and flourishes by the piano and harp add charm, wit, and youth. Additionally, the piano’s and harp’s ability to easily and naturally play arpeggios allow the piece to have momentary sweeps in sound and range, offering another dimension and dynamic to the composition. The ending of the piece swells in great climax, inviting all the instruments to reenter in one final exclamation of purpose, and resolves with not a battle or victory call, but more of an inner satisfaction and settling of previous troubles.
I attempted to maintain an ABCA verse and bridge rhyming scheme, as well as an AA or BB chorus scheme. I’m not sure if the chorus is too short, it probably is, but I wanted the chorus to be a progressively changing arrival of a repeated action, reflecting a gradual morphing as the song continues. In order for this to work, I felt it should be used sparsely, maybe even only twice. In terms of syllables per line, I planned on mirroring line length between lines that rhyme. I never did consider how syllables would influence or fit into the song in context to singing a line and phrase, but I suppose we’ll work on that as we go along.
The words are quite personal, but not to the degree that I’m embarrassed to discuss it. It’s always been a challenge for me (and still is) to discover what I should be doing in life. I used this song as a form of dialogue for myself, and no one in particular. I attempted to draw images with words that envision space and weight. Perhaps I mention everything from the perspective myself too often, and that doesn’t allow listeners to implant their own experiences into my song, but according to some people I showed this too, there was such an issue. They even went as far as to say that the song was really ambiguous, which it is to a degree.
My normal composition style, in retrospect, is composing/improving (to the best of my ability) via a piano keyboard, building upon a certain sequence of chord progressions that sound pretty stable. Using the MIDI input capabilities of a program like Logic Pro, allows me to transpose the chords into a different tonal key and obtain various tone colors. Schubert once described the key of E minor as a ‘maiden with a lily upon her breast’ (lulz) and Rachmaninov found D major a golden brown colour. Though I’m not a synesthete myself, and pretty much am unable to really objectively decide which tonal key sounds better, it is easy to notice that keys do sound different. Read More