New Qin compositions

[Si]

I just bought - The oil lamp flickered on ROI , performed by Tse chun Yan

Most of the album are pieces he(she)? has composed a few years ago for qin.

I like them - anybody else heard them? If I had not read the sleeve notes I would have never known they were so new!!

[SCWGuqin]

I really wonder why there aren't more new compositions--and why everyone except LXT seems so unwilling to improvise in a serious way. Sure, you can insist that both activities require a "high level of understanding", but certainly there are quite a few players who reach that level!

[Charlie Huang]

I do a bit of improvising if I haven't got anything to do. I feel it is very liberating (only if you can play to a good standard, or you'll go all over the place).

Cai Deyun (Tsar Teh-yun) is a she, and over 100 years old. I want to get her Qinpu as it contains her repetoire.

[SCWGuqin]

CCC: when you improvise, what 'framework', if any, do you use? Do you keep the texture/character close to traditional qin music?

[Charlie Huang]

Depends. Sometimes, I try to invisage a theme that is predominant to my life at that time, then I normally have an image of what strings to play and how, from that I hear the music. Sometimes, improvisation overlaps with composition. I don't know if I could consider my impros 'traditional' as I tend to aim for new ways and techniques in playing. I like to add harmonics between pressed sounds, a bit like pipa when you play a section, then add a harmonic at the end of that phrase to add character; same with my aims. Also, I tend to emphasise on patterns and some unfamiliar notes, utilising these to create a more varied tone. Mostly, the structure is traditional, but the methods I use are not.

[SCWGuqin]

I devote a *lot* of time to working on improvisation, new techniques, composition--it's all basically the same, since there is no traditional detailed framework for improv or comp. I really admire what LXT does, and incorporate some of it, but I mainly see my work as adding two things to qin music that are traditionally unheard of: (1) heptatonic scales, and (2) a 'lyrical' texture. (1) is pretty easy to understand--I may eventually do all kinds of microtonal stuff, but for now just basic diatonicity with modulation is more than enough to interest me. As for (2), I'm referring to the specifically 'vocal' texture emphasized in, for instance, Indian and Middle Eastern musics. As far as technique I think I'm highly influenced by Wu Wenguang, who specializes in *long*, ringing, subtle intonation.

Currently I'm structuring my practice around concerts that are roughly 50% Chinese-based, and 50% 'other'-based. (My next ones are in May and June, both with violinists.) For the Chinese-based pieces the idea is to take a fully traditional piece and use that as a basis for dialogue with the other musician; in the 'other'-based pieces I do the adapting, generally to a non-Chinese improvisational form. I think as time goes on this could have some interesting results. I've also become addicted to electronic equipment, constantly experimenting with amp settings to get exactly the sound I want--generally, lots of sustain and 'space'.

[davidbadagnani]

utmostvacuity2 said:

I devote a *lot* of time to working on improvisation, new techniques, composition--it's all basically the same, since there is no traditional detailed framework for improv or comp. I really admire what LXT does, and incorporate some of it, but I mainly see my work as adding two things to qin music that are traditionally unheard of: (1) heptatonic scales, and (2) a 'lyrical' texture. (1) is pretty easy to understand--I may eventually do all kinds of microtonal stuff, but for now just basic diatonicity with modulation is more than enough to interest me. As for (2), I'm referring to the specifically 'vocal' texture emphasized in, for instance, Indian and Middle Eastern musics. As far as technique I think I'm highly influenced by Wu Wenguang, who specializes in *long*, ringing, subtle intonation.

Currently I'm structuring my practice around concerts that are roughly 50% Chinese-based, and 50% 'other'-based. (My next ones are in May and June, both with violinists.) For the Chinese-based pieces the idea is to take a fully traditional piece and use that as a basis for dialogue with the other musician; in the 'other'-based pieces I do the adapting, generally to a non-Chinese improvisational form. I think as time goes on this could have some interesting results. I've also become addicted to electronic equipment, constantly experimenting with amp settings to get exactly the sound I want--generally, lots of sustain and 'space'.

This sounds interesting. Where are you based and how can we hear your stuff?

[SCWGuqin]

I'm in Boston thru the summer, then in NYC for at least a year. There are no plans for recordings as of yet, but that may change with time.

David - from your bio, it looks like you've had a lot of experience juxtaposing sounds from different traditions. What have your own experiences been like? What do you think are some unique strengths and weaknesses of the Chinese tradition?

[kyokuhon]

Hi, UV2,
Since I'm in Mass. myself, I find it quite interesting that you're in Boston. If there aren't any upcoming recordings, are there any performances?
Best to all,
K.

[davidbadagnani]

utmostvacuity2 said:

David - from your bio, it looks like you've had a lot of experience juxtaposing sounds from different traditions. What have your own experiences been like? What do you think are some unique strengths and weaknesses of the Chinese tradition?

That's one of the hardest questions I've ever had to answer! ;-) Let's move to the "Traditional Chinese music" section as this one is qin-related and I don't play qin.

[sleepy]

utmostvacuity2 said:

I really wonder why there aren't more new compositions--

This is a simple case of demand vs supply. Qin isn't popular enough. Right now the numbers of both qin players and qin audience are still lagging behind those for other traditional instruments. In these days and age what's most likely to "encourage" new qin compositions is when there's a commercial interest such as qin music for movies, TV dramas, etc.

BTW, Tse Chun Yan (Dr.-- his full-time job is a hospital doctor) has been commissioned to compose qin music for TV dramas in HK. I haven't heard his ROI recordings but I wonder if any of the new pieces was originally commissioned and used on TV or movies.

[Charlie Huang]

My new composition (pardon any mistakes in the staff):