The music is made out of Particles sound of Accordion. Winds from bellows shakes of Accordion with electrical Max for live with multi-channeled speakers, the audience can feel how these Accordion’s fluffy particles of sound which is electronics takes complex resonance delay, granular pitch shifting, and live the sampling mix together. Acoustic sound and electronic sound merge into an Accordion’s tone seeds fly around.
Tomomi Ota is one of the greatest Accordion players in Japan. She is the only one who can play contemporary music. Everyone thinks that the Accordion doesn't have extended technics such as Violin flageolet or Saxophone Flutter-tonguing. She plays a lot of extended-technics, for example, she creates ultra fast trills using multiple buttons, or vibrato by shaking her left leg.
I had a big impact from her extended technics, so that’s why I composed this music.
I programmed electronic parts for don't interference her sensitive extended play.
Electronics support low frequency of the whole song, enhance her special technics by real-time sampling.
It requires more than 4channel multi-speaker system, I used resonated delays and reverbs for the unusual sound field just like another planet’s deep sea.
Also I user Resonating shift, it creates the sound like pitch-shifting, however, it is not musically crashing for harmonies comparing normal pitch-shift.
Especially, in the last half of the song, she plays just bellows and makes one whistling noise. Electronics create sound like a big ship in the harbor.
Paradox for Violin Solo and Electronics Live
Programming Sound Engineer:Nagie
The music is made out of four different sound layers, that is, the violin solo live and three other performances by Max. With multi-channeled speakers, the audience can feel how these four layers mix together. Each sound layer progresses in different time scales, and the three sound layers by Max, too, are actually performed by the violinist in a way, for his bowing is reflected
in these other layers through 'sensing'. The violinist body and the right bow sensed by 'Kinect' which enables the angle of the bow at each moment to be sensed and conveyed to the computer, and then processed to be expressed in sound and also visualized. ''You'd best not consider it a violin; I take it as a mere wooden box with a few strings running down,'' whispered the violinist, benevolent or malevolent, before I started composition. Setting out thus at a loss, I was able to feel the unexpected pleasure of liberating myself from all the fixed ideas I had had a musical revelation, if I may call it.
21st Red Line for 20strings Koto and Electronics Live
Composed by Ai Kamachi
20-stringed-Koto Yumi Kurosawa
Musical Technical Programming NAGIE
Visual Programming Satoru Higa
21st Red Line
This piece was written for the Japanese 20-stringed Koto and electronic sounds.
In this piece, the data of the string vibrations and dynamics are sent to a computer in real time through sensors that are connected to each of the strings. A red laser beam is set next to the lowest string and becomes a 21st string, so to speak, thus the title “21st Red Line”. This laser string is “struck” to play or transform the Koto sounds electronically.
The Koto is tuned in quarter-tones, and uses the interval of an octave plus a quarter-tone (e.g. C to C-quarter-tone-sharp), which becomes an important structural element in the piece. From the scale that is thus created, overtones arise in a wave of sound that can be appreciated both audibly and visually. Every single note and phrase from the Koto is transmitted to the computer using Max/MSP + Jitter through the sensor and microphone, which are then sampled and played back along with the Koto, thus creating an ensemble performance.
In the cadenza, the computer starts to compose automatically using those samples. Here, electronic and sampled Koto sounds are interweaved with Ms. Yumi Kurosawa’s magnificent, beautiful and powerful improvisation, which becomes a beautifully chaotic soundscape.