Free Suite: Elegia Kyotienna

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Elegia Kyotienna         自由組曲「京愁」

Mr.Murayama, almost 2 years have past since I had composed the former work named "Hirollina 102". The new work is a free suite named "Elegia Kyotienna"which means elegy of Kyoto. This work has been composed using 2 new experimantal scales of non-equal temperament, the one is U1 and the other is U3. "Elegia Kyotienna"includes 15 pieces, and except 2 pieces the same piece was performed in the both scales U1 and U3. I hope the listeners feel any difference between the performance by U1 and U3 scales, both are supposed to be classifed as major scale group like in the equal temperament. U1 experimantal scale is the combined scale consisted of the two scales, i.e., the pentatonic scale of black keys and the heptatonic scale of white keys. And U3 experimental scale is another combined scale consisted of the other pentatonic scale of black keys and the same heptatonic scale of white keys.
The first piece starts very calmly with deep sorrow in violin mode. The former work had been composed to express spring of Kyoto, but this work is composed to show the feeling of mid-autumn of Sagano, around the same pond named Ohsawa Pond where leaves falling onto Heroine going alone. As the cherry blossoms symbolize the spring of Kyoto, then the falling leaves in colour symbolize the autumn of Kyoto. This time, the composition has been made by the new experimental scale, the combined scale of pentatonic non-equal temperament in black keys and pure tone scale of white keys. Then the harmonic effect has been improved comparing with the former works composed by only pentatonic scales. Because the beautiful harmony by pure tone scale is adopted and also the pentatonic expression is emphasized for Japanese melodies. The first piece has been performed by U1 scale and the second piece by U3 scale. The numerical mean difference between the scales of U1 and U3 is 37 cents deviated from the equal temperament. How do you feel any difference listening to the performance by the two scales ?
The third piece is a very short example of quartet by piano, violin, flute and Japanese drum named taiko. And the experiment has assured the quartet could be performed by DTM. This piece was performed by only U1 scale. The forth piece is in organ mode, again recognizing that organ is effective in DTM music like as the former works. The fifth and sixth pieces are composed by percussion without any melodious instruments. The first attempt of percussion music has been successful in DTM, because more than 100 kinds of percussion instruments installed in the keybord. The oriental music has the longest history to use percussion instruments which play the most important role in the decision of tempo control. So, I think, percussion instruments are enevitable for our music. How do you feel about the astonishing combination of percussion and other melodious instruments of this work ?
In the 7th and 8th pieces, flute is firstly experimented by DTM, then it might be something reasonable though the sound quality being not refined. They are performed in U1 and U3 scales. Also trumpet has been experimented with the similar results. In the 11th and 12th pieces, Koto has been tested with much difficulty in performance by DTM. Though not enough, I think, Koto is very atractive in DTM music. In the case of Kyoto Opera, Japanese traditional instruments might be enevitable in composition. They were perfomed in both scales U1 and U3. In the 13th and 14th peices, piano mode has been again tested. The most important difference with the former works is that the new works have been composed by the combined scales of non-equal temperament pentatonica and heptatonic pure tone scales. This experiment has not been updated to define the theoretical procedure of transformation or simultaneous usage of the new scales. But I feel some new light coming up in the far horizon of our future music. The 15th piece is again the same one as the 1st piece performed by U1 scale to conclude the so-called ABA form. But our oriental music might not have the necessity to adopt this traditional form of Europe which has the sense of symmetric stability with too much formalism. The Japanese traditional music might have the tendency to avoid repeating the same melodies.
Today, it is the X'mas night ! I hope all members of your family being so happy to welcome the new year 2005 !

Gathering purple flowers here under the tree to be happy in the dream Capital ! (24 Dec 2004)