kompositor

Kamikazee's 'NARDA' Japanese Band Cover

2012-08-29T06:25:00.000-07:00

Japanese Visual-Kei Band to hold a 3-night live concerts

in Davao on Sept. 7, 8 & 9 :) Let's have fun & rock the night with

YAMATO, KYO, ANGEL-TAKA, KOTARO & MASATO

Uchuu Sentai Noiz (宇宙戦隊 Noiz) is a visual kei rock band from Japan. They are known for their energetic music, wild cosplay-like outfits, and live shows full of energy and on stage antics. Their music is very eclectic and has many different elements from genres such as punk, pop, metal, hip-hop and electronica in their sound and thus cannot be properly labeled. Some songs tend to not mix all these sounds together and focus on one or two, while other song combine all these elements. There are two singers, Angel Taka (lead) and Masato, whereas for the most part Angel sings in more of a pop friendly voice though occasionally can sound a bit more punk-ish, while Masato tends to sing in harsh/brutal metal vocals and even purely hip-hop/rap style vocals which Angel will sing backup for. (cr: Wikipedia)

'Oldest musical instrument' found

2012-08-25T19:57:00.003-07:00

By Pallab Ghosh

Science correspondent, BBC News

Scientists in Germany have published details of flutes dating back to the time that modern humans began colonising Europe, 35,000 years ago.

The flutes are the oldest musical instruments found to date. The researchers say in the Journal Nature that music was widespread in pre-historic times.

Music, they suggest, may have been one of a suite of behaviours displayed by our own species which helped give them an edge over the Neanderthals.

The team from Tubingen University have published details of three flutes found in the Hohle Fels cavern in southwest Germany.The cavern is already well known as a site for signs of early human efforts; in May, members of the same team unveiled a Hohle Fels find that could be the world's oldest Venus figure.

The most well-preserved of the flutes is made from a vulture's wing bone, measuring 20cm long with five finger holes and two "V"-shaped notches on one end of the instrument into which the researchers assume the player blew.

The archaeologists also found fragments of two other flutes carved from ivory that they believe was taken from the tusks of mammoths.

Creative origins

The find brings the total number of flutes discovered from this era to eight, four made from mammoth ivory and four made from bird bones.

According to Professor Nicholas Conard of Tubingen University, this suggests that the playing of music was common as far back as 40,000 years ago when modern humans spread across Europe.

"It's becoming increasingly clear that music was part of day-to-day life," he said.

"Music was used in many kinds of social contexts: possibly religious, possibly recreational - much like we use music today in many kinds of settings."

"The modern humans that came into our area already had a whole range of symbolic artifacts, figurative art, depictions of mythological creatures, many kinds of personal ornaments and also a well-developed musical tradition," Professor Conard explained.The researchers also suggest that not only was music widespread much earlier than previously thought, but so was humanity's creative spirit.

The team argues that the emergence of art and culture so early might explain why early modern humans survived and Neanderthals, with whom they co-existed at the time, became extinct.

"Music could have contributed to the maintenance of larger social networks, and thereby perhaps have helped facilitate the demographic and territorial expansion of modern humans relative to a culturally more conservative and demographically more isolated Neanderthal populations," they wrote.

"These flutes provide yet more evidence of the sophistication of the people that lived at that time and the probable behavioural and cognitive gulf between them and Neanderthals," he said.That is a view supported by Professor Chris Stringer, a human origins researcher at the Natural History Museum in London.

"I think the occurrence of these flutes and animal and human figurines about 40,000 years ago implies that the traditions that produced them must go back even further in the evolutionary history of modern humans - perhaps even into Africa more than 50,000 years ago.

"But that evidence has still to be discovered."

Source: news.bbc.co.uk

Choosing A Good Guitar

2012-08-16T21:18:00.001-07:00

For the simple reason that a good playing comes from a good instruments, perhaps, the following tips might be a great help in picking out a worthy guitar.

Test the accuracy of the frets.

Tighten all six strings just enough to give each full tone.
Pick out one complete scale on each string. To do this with the six string; first pluck the string, then press upon the second fret, 4rd, 5th, 7th, 9th, 11th and 12th fret. Te tone produce should, in a good guitar, give the exact sound of the
musical scale:do, re, mi, fa, so, la, ti, do. Do the same with the other strings. The twelfth fret when pressed should give a tone one octave higher than the open string.

After the "mechanical test" of the fingerboard, try the "tonal quality" of the instrument.

Tune the six strings to the sequence of the universal standard tuning: 6th=E, 5th=A, 4th=D, 2nd=B, 1st=E.
First strum on one major chord, then on other chords.
Observe the sounds produced on the guitar. Look for fullness, "roundness" of tone, and not loudness.

Then, you may consider the easeof playing. It would be best to select the guitar which would require you to exert the least amount of pressure to press firmly the strings on one fre in producing full and sonorous tone; in this way, sore or blistered fingers could be prevented.

PhilPOP Musicfest Foundation

2012-08-13T06:03:00.000-07:00

The first Philippine Popular Music Festival (PHILPOP) songwriting competition from February to July 2012 is a milestone in Original Pilipino Music (OPM) history.

In that time span, Filipino songwriters from all over the world were put in the limelight. They were given the challenge to create the best song they can, break musical boundaries, and enrich the depth and breadth of Filipino music. In the end, one song writer took home the title of first PhilPOP champion, but rich talent and enthusiasm that emerged from the competition showed the Filipinos’ innate musicality.

The Launch

The mission of PhilPOP was led by renowed music maestro Mr. Ryan Cayabyab. A brilliant composer himself, he wanted to encourage more Filipinos to create music that could flourished into timeless hits like his. Phil-pop would promote the development of new expression of genres in popular music, reigniting Filipino passion and pride.

“Filipinos are musically gifted,” Mr. Ryan Cayabyab disclosed. “With PhilPOP, I want to shine the spotlight on our world-class composers and songwriters.”

The PhilPOP competition was launched by the PhilPOP executive committee on February 15, 2012 through a press conference at the Philippine International convention center (PICC). The guest got a foretaste of how the competition would evolve, with Mr. Ryan Cayabyab performing some of his hits and several OPM classics with the RCS. Exciting prices at stake in the competition were announced.

As PhilPOP Organizing committee Chairman Mr. Ricky Vargas put it, “Songwriters have given so much inspiration to our society; they have even sparked revolutions and change. This event are launching today as in their honor to give them a platform to showcase their talents.”

This was to mark the beginning of the PhilPOP MusicFest Foundation.

The Foundation

The PhilPOP MusicFest Foundation, Inc. is a movement which empowers Filipino music. The board of trustees include Chairman Manny V. Pangilinan; President Ricky Vargas; Executive director Ryan Cayabyab; Vice President Patrick Gregorio; Treasurer in Trust Randy Estrellado from Maynilad; Ogie Alcasid, President of OPM; Noel Cabangon, Vice President of OPM; Butch Jimenez of PLDT; Dot Vea of Smart PLDT; Al Panlilio of Meralco; And Roy Evalle of First Pacific Leadership Academy.

“The PhilPOP MusicFest Foundation, Inc. is an advocate of Filipino music, a cultural treasures that embodies the identity of our People,” Mr. Ryan Cayabyab explaines. “ We seek to enrich Filipino Music and educate this and future generations on its uniqueness and importance. We seek to resound and preserve the vanishing, perhaps forgotten, musical gems from rural areas.”

It immediately garnered support from prominent composers and business partners, strengthening the movement andbuilding the momentum and anticipation of a brighter future for OPM.

The 14 Finalist

From March 1 to May 10, 2012. PhilPOP drew over 3000 entries from Filipinos all over the world, far exceeding the Executive Committee’s expectation of 1,000.

After the gruellimg task of screening thousand of songs, the adjudicators toiled to select the top 14. In second press conferens ce, this time held in Genting Club, Resorts World Manila on May 28, 2012, these gifted 14 were introduced. These included 4 established veterans- Trina Bilamide, Gary Granada, Soc Villanueva, and Mike Villegas; and 10 amatuer Song writers- Thyro Alfaro, Kenny Faraon, James Leyte, Edwin Marollano, Krist Melecio, Keiko Necesario, Bryon Ricamara, Toto Sorioso, Karl Villuga, and Noah Zuniga. Collectively their songs integrated a rich variety of genres that are promising for the future of OPM.

Building the Excitement

As the grand finale grew closer, the buzz amplified. The finalist met the interpreters of their sogs comprised by well-known musicians the likes of Mark Bautista and The Akafellas (interpreting “Bawat Hakbang”); Jay R and Deejay Poblete (“Dulo ng Dila”); Nyoy Volante (“SlowDancing”); Sam Conception (“kontrabida”); Baihana (“Bigtime”); Cathy Go (“Negastar”); Brownman Revival (“Brown”); Joey Ayala (“Piso”); Rocksteaddy (“Takusa”); Daniel Grospe (“Kesa”); Ebe Dancel (“Tayo-tayo lang”); Duncan Ramos, Luke Mijares, Loonie Thyro, and Yumi (“ Himig ng Panahon”); and international artist Marie Digby (“3 A.M”). Gary Granada is sole interpreter of his song “Minsa’y Isang Bansa” Recordings have been madeas overseen by record producer Vic Valenciano and the CDs that were produced and distributed by the Ivory are now topping the charts. All proceeds will go to the foundation.

The PhilPOP finals gathered celebreties and fans nationwide at the PICC were it all began, on a spectacular staged designed by distinguished production designer Gino Gonzales, reminiscent of the worldwide hit TV show “American Iddol”.

The Grand Finale

By 7:00 P.M of July 14, 2012, the plenary hall at the PICC was packed. The show was in full swing with amazing performances and dazzling in-house effects. With host Ogie Alcasid and Nikki Gil, as well as the star-studded cast of interpreters and performers, the audience was engaged in the entire production. The interpreters performed the songs of their corresponding finalists and did each one justice. In between this 14 novel hits, Jose and Wally, basil Valdez, Sharon Cuneta, Christian Bautista, Erik Santos, Regine Velasquez, Rachel Alejandro, Barbie Almalbis, Bituin Escalante, Frenchie Dy, Chris Villongco, Gian Magdangal, Jan Nieto, Reymond Sajor, Bugoy Drillon, Bryson Andress, Gloc 9, Kitchie Nadal, Hajji Alejandro, and the Ryan Cayabyab Singers graced the staged with added entertainment.

Concluding the event was the long awaited awarding ceremony. With his song “Bawat Hakbang”, former Akafellas member Karl Villuga bagged the title first PhilPOP grand champion, earning the million peso cash prize. Toto Sorioso (“Tayo-tayo Lang”) and Soc Villanueva (“Kontrabida”) placed 2^ndwith 500,000 and third with 250,000, respectively. All three winners were presented with beautifully crafted glass trophies designed by multi-awarded sculptor Ramon Orlina. And finally James Leyte was given the Smart People’s Choice Award and 200,000 for his quirky reggae entry, “Brown”.

Along with the numerous festivities that night, it was also the birthday of PhilPOP Overall Chairman Manny V. Pangilinan. “This night is the celebration of many things, especially the enduring enrichment of OPM, “ he affirmed. “ I am honored to witnessed this unwavering support from all Filipinos which implies just how passionate and proud we are of our musical capacity.” The production team, comprising Ryan Cayabyab, Direk Rowell Santiago, Mark Lopez, and executive producers Patricia Hizon, and Girlie Rodis ensured a prestigious night of Musical Enginuity, with a promise of a winning steak for PhilPOP, the Foundation, and OPM.

The Winners

Karl Villuga is a founding member, vocalist and Vocal arranger of Akafellas, as well as a brilliant finance consultant. Although he is experienced in Music industry, he is still quite amateur as a song-writer. His composition “Bawat Hakbang” expresses a personal struggle in his life and captured the hearts of all the adjudicators. On final nights, he performed his own song, with the help of his fellow groupmates and established crooner Mark Bautista.

Toto Sorioso is a qualified performer and a sound engineer who has been writing songs since High School. His mellow rock entry “Tayo-tayo Lang” is about the gloominess of performing onstage and not getting attention from the audience. SugarFree lead vocalist Ede Dancel put a classic spin on this concept, and the judges saw great potential in this ballad.

Soc Villanueva is a songwriting veteran who has composed songs for a multitude of famous artists such as Martin Nievera, Piolo Pascual, Erick santos, Angeline Quinto and Bituin Escalante. Although he is currently based in Australia, his gifts in creating songs that would appeal to Filipinos is very much alive. His songs “kontrabida” is an R&B tune interpreted by young heartrob Sam conception and received very well by the audience.

Final Message

For this support of the first season of PhilPOP, The PhilPOP MusicFest Foundation, which was presented by the Maynilad, Smart, Meralco, PLDT, Resorts World Manila, and TV5, thanked the valuable sponsors Metro Pacific Investments Corporation, NLEX, PICC, and Sun cellular as well as the First Pacific Leadership Academy, KBP, Philex; Media partners Inquirer, Ivory Records, Philippine Star, Radio High, and Radio Republic; and the Belo Medical Group and Via Mare. They also acknowledge the participants, joiner or voter, for their role in enriching OPM.

PhilPOP is a Maynilad’s sincere contribution to Philippine Society, implying that Filipino music is the language of the sole. The foundation is certainly not resting on its laurels; it is already preparing for a nationwide tour teaching songwriting and music appreciation to the youth. An OPM summit is also in the pipeline. As the saying goes, “Mabuhay ang OPM!”

Source: The Philippine Starweek: The Sunday Magazine of the Philippine Star.

Tips in Learning a New Piece

2012-08-09T19:36:00.005-07:00

Listen to the melody over and over.
Memorize the melody in you mind. Be able to sing it.
Listen carefully to the Bass line and the harmony in general. Get an overall sense on hoe the song is put together.
Try playing the melody from the memory. Slow at first.
Play the melody with your instruments or any recording. Try to copy all articulations and phrasings.
Analyze the scales and chords that appear in the song. Make sure you’ve got the right changes (chord progression)
Improvise over the harmony, keeping in mind the original melody as a frame of reference.
Improvise your original melodies based on what your mind hears. Let your mind guide your choice of notes, phrasing and rhythms.
Listen constantly to the original recording of the song to further stir your imagination. In corporate ideas or the recording to the way you play it.
Fall in love with the melodies of the song. Play them like you wrote them.

Fil-Japan Friendship: bridging cultures through music and shared experiences

2012-08-09T01:03:00.002-07:00

Photo by Paul Louie Serrano

During the performance and the workshop the following day, the artists have repeatedly mentioned that when the country's traditional musical instrument Koto is played, the air excuded the presence of the cherry blossom, Japan's natural flower.

If this is the artist's way of establishing "cultural connections through music," as they declared then Japanese musicians Aki and Kuniko certainly won the hearts of the audience of the University of the Cordilleras (UC) theater last July 16.

Acoustic guitarist Aki, and Koto player Kuniko performed through two standing ovations and an encore in an hour long concert that was part of the 2012 Philippine Japan Friendship month in Baguio City.

Supported by the Japan Foundation which also brought to Philippine films, performances and exhibits on the recovery of Japan's Tohoku region after March 11, 201, "Great East Japan Earthquake." Aki and Kuniko were slated to perform more in two venues- Manila and Cebu after their UC engagement.

Japan Foundation Manila assistant director Mitomi Yukie explained that the inclusion of the performances and exhibits in the aftermath of the Fukushima Earthquake in Japan's way of extending their gratitude to the world "for its compassionate support" to the nation and to demonstrate Japan's resolve to rise from the disaster.

Aki and Kuniko's July 16 performance also recalls a similar disaster that occurred in the North Philippines including Baguio City on July 16, 1990.

But none trauma of the both disasters was conveyed during Aki and Kunikos performance. instead the "acoustic duos" repertoire of ten instrumental pieces brought into focus the ethereal and gentle sound of the Koto, heard live for the first time by some in the audience.

Commonly used in the japanes folked music, the koto according to Yukie, is ussually played during New Year and Spring Festivities. The instrument she said, can be played by both genders but it is the female who is mostly seen playing music with it.

Filipinos might recall a song crossover "Sakura" which is accompanied by Koto. Sans vocals the main tune is essentilly delivered by the Koto. " Sakura" is Japanese for "cherry blossom," the inspiration of the fourth song in Aki and Kuniko's reportoire, the "flower dance".

But while the koto delivers "delicate heartrending murmurs" when plyed by itself, the instruments range widens and becomes driving and forceful when matched with an acoustic guitar.

According to Aki and Kuniko, the acoustic guitar and the koto are natural blend. "The instruments do not accompany each other but rather they are complementary."

In the next days workshop attended by the Uc Percussion and orchestra, The UC Hapiyoh cultural groups and Students from Baguio City National High School, both musicians elaborated in their instruments are

complementary.

“ There is a dominant and passive dynamic to our music,” they said alluding to the concept of balance and harmony Yin and Yang. “The guitar adjusts with the fixed structure of the Koto,” they explain.

The koto’s fixed structure is the result of the tuning system where the bridge for each of its thirteen strings is provided. Tone is assigned by positioning the bridge nearer or farther from the string catch for higher and lower tones. Unlike the guitar, the Koto has no tuning Pegs.

Uc Percussion and Orchestra conductor Paul Louie Serrano observed that Koto is tuned in octaves, which is set apart from the standard tuning of the Acoustic Guitar. Aki acknowledges that he must indeed detune his acousticguitar – adding one whole step from the lower A and D strings and subtracting one whole step from the higher N and E strings to match the Koto’s tuning system.

This results in a guitar chord pattern that matches the musicality of the Koto. Yukie explaines that Aki and Kuniko musical collaboration consict of original compositions inspired by traditional classical and contemporary music. Chording with the acoustic guitar unifies the sound of the Koto where it is played with the single note picking.

However the dynamic of the guitar also shows when Aki plays scales and it is Kuniko’s turn to blend. Aki says he generally plays the E minor pentatonic which is blues and jazz driven. Koto players , explaines Kuniko, optimizes the instruments range through different techniques in drawing the sound. These consist on plucking the low, middle and high tones, blending, blending, sweeping and scratching the strings.

For the workshop participants, the upclose encounter with the Koto was an experience. “for now, let us forget Hip-hop, rap and rock music. Let us indulge with learning first,” one participant said.

The instrument which was originated from China, is made of hollowed Paulonia wood known in Japan as Kiri. Kuniko explains the design and pattern of the Koto’s body is that of dragon’s. While the bridge and strings were traditionally made out of Ivory and Silk, today they are made of synthetic materials.

“But the care and attention devoted to the instrument is still traditional,” Kuniko said. “ There is a specialist dedicated to fixing strings, another specialist tunes it.”

Source:http://biyaheng-amianan.blogspot.com/2012/08/fil-japan-friendship-bridging-cultures.html

Guidelines in Learning the Guitar

2012-08-02T20:09:00.001-07:00

1. Try to listen and think musically.

2. It doesn't mean that you re ready for the next lesson if you read advance lessons quickly. You may feel frustrated and lacking ability if you will skipped to advance lessons wiyhout going through exercises relevants to fundamanetal guitar playing techniques.

3. Refer back to former lessons if you feel that some points have been overlooked or insufficiently absorbed. take time to repeat lessons and exercises.

4. Give much attention on hand positions. At firts, faulty hand positions will likely be alright, but trouble arises when ambitious and complex pieces are approach. When wrong positions will become habit, corrections will definitely be difficult.

5. The process of your learning includes practices, exercises, experimentations, frustrations, and finally, achievements.

6. Set aside a certain time for practice each day. Be consistent.

7. Read and re-read important sections and illustrations.

8. Trim fingernails to correct lenght, otherwise, your guitar will not sound correctly, left hand nails are trimmed as short as possible, and right hand nails should be filed approximately at the tip of the fingers.

9. At first, your left hand fingertips will be painful caused by pressing. this pains shall diminished by the time calluses are beginning to form on each fingertips. Do not feel uneasy with the calusses for they will slough off after several months of practices.

10. You will be more interested to study if you enjoy your self learning the guitar. Enjoy.