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Daily Contrapuntal Variations via Improvisation for Piano

by Michi Nakayama

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1.
Day 1 02:50
2.
Day 2 02:56
3.
Day 3 02:36
4.
Day 4 02:20
5.
Day 5 02:45
6.
Day 6 02:24
7.
Day 7 03:49
8.
Day 8 03:56
9.
Day 9 02:12
10.
Day 10 04:43
11.
Day 11 02:10
12.
Day 12 02:21
13.
Day 13 02:45
14.
Day 14 02:28
15.
Day 15 03:45
16.
Day 16 02:06
17.
Day 17 02:34
18.
Day 18 02:34
19.
Day 19 02:56
20.
Day 20 02:32
21.
Day 21 03:02
22.
Day 22 02:39
23.
Day 23 03:24
24.
Day 24 03:10
25.
Day 25 03:10
26.
Day 26 01:56
27.
Day 27 03:01
28.
Day 28 02:46
29.
Day 29 03:30
30.
Day 30 04:04
31.
Day 31 02:59
32.
Day 32 03:27
33.
Day 33 04:42
34.
Day 34 02:54
35.
Day 35 02:43
36.
Day 36 04:15
37.
Day 37 03:49
38.
Day 38 02:59
39.
Day 39 04:02
40.
Day 40 02:32
41.
Day 41 03:36
42.
Day 42 02:50
43.
Day 43 02:24
44.
Day 44 03:03
45.
Day 45 03:37
46.
Day 46 04:06
47.
Day 47 02:59
48.
Day 48 02:40
49.
Day 49 02:20
50.
Day 50 04:16
51.
Day 51 03:18
52.
Day 52 02:56
53.
Day 53 01:57
54.
Day 54 02:11
55.
Day 55 02:35
56.
Day 56 03:12
57.
Day 57 02:36
58.
Day 58 02:25
59.
Day 59 02:29
60.
Day 60 02:31
61.
Day 61 01:59
62.
Day 62 02:12
63.
Day 63 02:43
64.
Day 64 02:22
65.
Day 65 02:43
66.
Day 66 02:25
67.
Day 67 01:04
68.
Day 68 02:05
69.
Day 69 01:49
70.
Day 70 02:56
71.
Day 71 01:53
72.
Day 72 02:20
73.
Day 73 02:01
74.
Day 74 01:36
75.
Day 75 02:08
76.
Day 76 02:03
77.
Day 77 02:02
78.
Day 78 02:35
79.
Day 79 01:56
80.
Day 80 02:28
81.
Day 81 01:25
82.
Day 82 02:20
83.
Day 83 02:30
84.
Day 84 02:12
85.
Day 85 01:49
86.
Day 86 02:22
87.
Day 87 02:35
88.
Day 88 02:18
89.
Day 89 02:24
90.
Day 90 02:11
91.
Day 91 03:20
92.
Day 92 01:43
93.
Day 93 03:23
94.
Day 94 02:53
95.
Day 95 02:09
96.
Day 96 01:54
97.
Day 97 01:44
98.
Day 98 01:46
99.
Day 99 02:26
100.
Day 100 02:26

about

This is a project in search of the essential qualities of musical manifestation. Counterpoint, texture, and variations have been key components of composition for many centuries, often regarded as universal, and abstractly “good”. The question is, how does one compose “good” music? Instead of investing in the rigorously theoretical and technical methods, it is perhaps more efficient to invest in the “natural” qualities, which would be theoretically more complex if one must conduct analysis. This approach, philosophically, and sonically attempted, is a mixture of Johann Sebastian Bach’s order and counterpoint with Claude Debussy’s chaos and texture; two of the most significant epoch makers of music history post-globalization. Through improvisation with restrictions, such as playing only the notes from the C minor diatonic scale and embracing muscle memory, the difference of each day and the state of the musician naturally renders each output into a variation. The differences of moments are perhaps more significant in music than the composer.

このプロジェクトは音楽制作の本質を追求することを目的としています。ポストグローバリゼーションの音楽史に於いて、対位法、テクスチュアと変奏が普遍的に「良い」音楽の基盤となっています。では、どうすれば良い音楽を作れるのか?厳密な理論や技術を持って行うのではなく「自然に近づくアプローチを取ると答えが見えて来るのではないか?」と思うに至りました。秩序と対位法を用いたヨハン・セバスチャン・バッハと混沌とテクスチャーを用いたクロード・ドビュッシーの音楽史上の2大エポックメイカーの統合を哲学的に、そしてサウンド的に応用することを試みています。「ハ短調に含まれている音のみ」や「手癖」などの「縛り」を持って即興することで、日々の違いや音楽家の変化がそれらを「変奏」へと音楽的に機能させてくれます。自然の変化は作曲家以上に音楽制作に於いて重要なポテンシャルを秘めていると言えます。

credits

released February 11, 2022

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Michi Nakayama | 中山 道 Yokohama, Japan

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