The title of my piece is NANTA, which means something beating rhythmically in Korean. The idea was influenced from the Blue Man Group and a Korean “Cookin” show.

This piece focuses on the rhythm changes. I used the sound from hitting a cutting board as the base rhythm, and used a knife sharpening sound for effect. On the basis of rhythms, the main melody of strings is played in small units and it
expands with the two different effects. The diverse rhythms come between units of the melody.

I made the main melody with an “echo manually” (bounced it with different
tempo and different notes). The cutting board sound is divided into two tracks, and each track contains different effects and panning. The purpose was to create two different locations for the noise of origin.

Although the chopping sound is not
transformed at the end, I still wanted to leave an impression of using the cutting board sound. Also, I focused on where the sounds can be heard.



In this project, I wanted to create a collage using the phrase, "everything will be alright."

To utilize instruments, it would be necessary to use sound that would act as a floor for the phrase as opposed to creating an over-arching melodic structure. For this, I used the pitches from the sample of The Killers and played it slowly with one of the sustaining, oscillating electronic synths, then created slight counterpoint by replaying the pitches with rhythm in delayed piano.

In order to not feel too reliant upon melody, this was phased against itself between the time signatures of q=100 and q=102 and not allowed to resolve, merely fade. The full phrase is constructed from segments of Que Sera sera, Everything Will Be Alright, Every Little Thing, and Everything (Doris Day, The Killers, Bob Marley, and Alanis Morissette, respectively).

It is fragmented, muted, and reverberated to give a sense of echo and pro-longing until the phrase can complete, each section mostly dove tailing into the next.



For this Project I decided to have limitations in the Pitches choice and Timbre/Instruments: I only used the note C (middle C on the keyboard) and an Organ Synth. I was curious to see what I could do with this limitation. I used several techniques such as Panning to create a pulse, reversing audio tracks, keeping “clicks and pops” to create a rhythm etc.



The pitch material is all from the right or left hand of another composer's piano piece. I used an online number generator to determine which hand would play from which of the five pieces I selected. When the excerpts would stop and start were also determined by chance. I only altered it in one place to fill the few seconds of silence in the beginning, but on second thought maybe I should have left it.

All of the tracks are midi instruments or ripped from midi tracks. For two tracks I layered one midi instruments over its ripped duplicate, edited the volume and panning, and set them slightly off from each other. The midi instruments mostly have a beat attatched to them or at least constrast well with the other parts, and I hoped the different beats would add complexity. Some of the instruments are not particularly well suited for melodic lines, warping the piano part into something unrecognizable.

The inspiration for this was Cage's HPSCHD and it sounds mostly unlike it. I don't typically like to quote other composers but I thought I'd try.



This piece of music is intended to present a happy groove for the listener. I chose the 7/8 meter to give the piece a kind of forward motion. The beginning delay guitar part with the shaker rhythm slowly speeds up to into the full band’s entrance. I did this to kind of build up the song a bit and give it an ominous entrance.

The rhythm is comprised of acoustic instruments. Then cello bass line gives this piece a more organic feel. I wanted to give this piece the opportunity of being performed live.

The ending is pretty sudden in this piece with the breaking of the main guitar rift and the second guitar part is left standing with some percussion and the cello. The listener should feel alarmed at the sudden change and then a little uneasy when the harmony between the cello and the guitar is of a minor key. The slowing of the end tempo presents a dwindling end to what was once a happy melody. The speeding up of the shaker part offer an interesting juxtaposition to the ending motif.





Earth: Evolution

This title is a completely last minute change. This is a revisited composition originally titled “Space” because the intention was to create an atmospheric environment that depicts space. After finishing it I also wondered if this could be put in an underwater setting and realized it could.

The 2nd intention/goal of this piece was to make a video game soundtrack where the music can seamlessly loop forever. While I was working on the piece for this project I didn’t know whether to portray space or underwater so I decided to do both.

It starts out in space and you think the setting is in space but it morphs into underwater at the end and the first repeat is establishing a completely underwater intention.
As I was looping it for the third time another idea came to me. I can start changing the orchestration and add things and it could take on another environment! This 3rd loop introduces brass and an underlying takio drum beat symbolizing chant and the coming of man and land animals.

Maybe from this 3rd loop I can break away from the endlessly looping cycle and create new material including a definite ending if I wanted to. Or maybe I can keep it looping to signify the continuous cycle and evolution of life.

With this new approach and ideas to an existing composition, this piece morphed from a video game soundtrack depicting one idea to a looping and ever changing piece that goes through the evolution of Earth.





Unlike previous projects I decided to be a bit more ambitious with my editing. This has the major side effect or requiring more work and more skill. Given that I spent more time on this projects then the previous to and then some I feel like I applied the work but I'm still a bit green to mastering and balancing tracks in a way that I'm pleased with.

I started by recorded my guitar in the studio. This let me experiment with take folders and how to make splices between takes to form one track. I then created a VST counter part, which I then exported without effects to audio. These two tracks are the root of the whole work. The audio version of my VST track I took and sliced up downbeats and repeated these events within quick secession in order to create a stutter effect. This I did while the VST track itself was playing over the top, so that the effect would be both a continues sound and a stuttered sound simultaneously. I applied similar stutters to the guitar often using reversed audio in place of the straight forward guitar sound. Between the guitar and the VST audio track I made several hundred slices.

I also worked with several laugh tracks and audio form lectures to try and create event based human speech. Ideally if I had more time I would focus on creating a more elaborate use of language where the speech rhythms and phonics would incorporate more with musical gestures. The hardest part in this project was balancing the audio between tracks particularly when one track was a a cut up version of the other.



It is “Dreaming.” I thought of what a baby would dream while she is in sleep. She would hear mobile music box with the voice of her mom and dad. I used some panning in the beginning that refers move of mobile but not many, because I wanted it to be calm and steady. In the middle, I put more dynamic by adding hip-hop style drum but tempo gets slower. It indicates brightness and excitement of a baby. Then, it cools down in the end because she is in deep sleep. I repeated same melody in different ways with different effects, but I tried not to use too much because the main theme of this music is “calmness.”