Jikegum Yueguzowsoc Leimiqebewn / Musical Composition Information

Jikegum Yueguzowsoc Leimiqebewn / Musical Composition Information

Xacie fe egot jikegum fuyeuguzowsoc ne zam iadea frebow kuxawt ejeug ura na egot ejokrs fe ‘liyejukilim’. A utah peeb wizbauhowani dub xalam tegazowsoc yosef tigt egyeg fe kegum, yacovamyani egot lipeeqeip fe ‘liyejukilim’ kojus si Terry Riley xana Steve Reich, si duhew si ahom dubuwitraproc tegazowsoc umil John Luther Adams xana Alfonso Peduto.

Each of the musical compositions on my audio world travel guide are in the style of ‘minimalism’. I have been influenced by many composers from this genre of music, including the pioneers of ‘minimalism’ such as Terry Riley and Steve Reich, as well as more contemporary composers like John Luther Adams and Alfonso Peduto.

Atoroe / Europe

Tigt sa i aboip wazowsoc sof ort naquip xana zaw xonicjoni dub Ludovico Einaudi’i 2006 yeuguzowsoc ‘Divenire’. Ta wahonuqroc fe i 5 doxac ejokgoc xana i waxunem ojil na egot C Poubowabuh felim ugajs xana lupam isu fe kebelco xana jonovadjod, si duhew si smozawp xana zibutnidbur yawofijuseppid et ohienic zaqepifuve jikegum wehumqet, pidujuzkap xana debgoxohni ceevajeb egot ort refumap.

This is a piece composed for two pianos and was inspired by Ludovico Einaudi’s 2006 composition ‘Divenire’. It consists of a 5 chord cycle and a melody line in the C Hungarian minor scale and makes use of octaves and dynamics, as well as phasing and rhythmic displacement to create evolving musical textures, patterns and interplay between the two parts.

Eosa / Asia

Ni hefuwattele faduyejukilim yueguzowsoc, ta gumacetu zuwamed kojus si ahon naunodda/gaukopojozkus xana lamolb pidoxac et iguve ni vahaoxma anocfukibta. Egot butnidbur lipifuve foemikiovgot dub taw fe i vuates fe haawizixni ‘sols xana tanas’, gotiliw ura hawvaropwuf micaclepuqfadaxac fe liwum bagaukopawat Xeosa kegum. Tigt yueguzowsoc zaw wizbuahowani dub ‘Everdream’ dub Epic Soul Factory (2015).

An electronic minimalistic composition, it utilises devices such as drones, note addition/subtraction and broken chords to evoke an ambient atmosphere. The rhythm evolves throughout by way of a series of individual ‘sols and tanas’, which are fundamental characteristics of much traditional Asian music. This composition was influenced by ‘Everdream’ by Epic Soul Factory (2015).

Ejosefa / Africa

‘Ejosefa’ sa qukab vakuxahne mivaira tuqed xana bauhzowmep dulicuvaduxajni xana sa gofumihmiqeroc lifuvahwasoc yosef pime-ceqebetsomp zabexclims qerexios xana vazes-vimivuger tugojyas fe xier ituhzowmep xavih. Egot yueguzowsoc refreub po piduxal fe nidajozcid yajieb xana sissup et ohienic i jodaoyav fe qefewavoqer zibutnidbur wahooxvatsomp xana xuvagiem, duyagrofawer na ejokrs xana eeqaqeplet et Steve Reich’i ‘Clapping Music’ yosef 1972.

‘Africa’ is based entirely around drum and percussion instruments and is constructed completely from pre-programmed synthetic sounds and self-recorded samples of real percussive hits. The composition builds up layers of different beats and pulses to create a variety of resultant rhythmic progressions and measures, reminiscent in style and technique to Steve Reich’s ‘Clapping Music’ from 1972.

Sezkon & Nimpirec Imehuma / North & Central America

I cuxausoguksoc fe dubuwitraproc xana atohan bagaukopawat dulicuvaduxajni upaqief na tigt yueguzowsoc, yacovamyani vamoupvek, aquip, wahumacexclims, buckab, xeers vatuqed, gomuqnam xana ulamkumpiv, honqelima xavagto. Ta zowbih mivaira ni 8-ahon vamoupvek cudir na egot vek fe D piqam xana refreub qeyiw licaovesef isu fe owovurso (wabuhool), hoteduxal xana smozawp, lijila qeyiw egot niemaug xausegorexahni fe fen waxunem yojil xana kubadlap.

A combination of contemporary and native traditional instruments feature in this composition, including keyboard, piano, synthesisers, bass, steel drums, mallets and vibraphone, amongst others. It hinges around an 8-note keyboard riff in the key of D major and builds with frequent use of ostinato (looping), layering and phasing, along with the gradual introduction of new melody lines and passages.

Brios Imehuma / South America

Iadea tugojyas xana rexios xavaheffe yasof egot bokab fe tigt yueguzowsoc. Oliliw evegot sa ayos raucolicuvaduxajni duyegemp, tigt sa wozikil et i nef nimays, ogojyis kubadlap fe aquip xana egot wuzawp owovurso (wabuhool) fe i miqods, 3-ahon fufom. Jikegum sesgekele ura qokopidfus mikiovgot egot isu fe zootateter xana hoteduxal fe egot xavaheffe xana tugojyas, lijila qeyiw egot suequfoyottuj ceevajeb zegot, gotiliw sa ni saqfo hisujokme eeqaqeplet ni liyejukilim.

Audio samples and sound effects form the basis of this composition. While there is some instrumentation present, this is limited to a few small, simple passages of piano and the phased ostinato (looping) of a short, 3-note motif. Musical elements are suggested through the use of repetition and layering of the effects and samples, along with the juxtaposition between them, which is an often employed technique in minimalism.

Eoracco / Oceania

Wazowsoc moeqeyiw cuna jikegum dulicuvaduxajni, ‘Eoracco” sa i aboip sagot wahonuqroc vaukuxahne fe rocuh qenov qerexios xana dajows yabow. Humiyis et ‘Brios Imehuma’, ta sa egot nuenudiholam, croccaoves xana jobihukvarra fe etegot xero iadea tugojyas gotiliw wohienic egot jikegum voom xana sosigni egot kanondil ehni ni ituhonnucla, faduyejukilim rexios frebow.

Composed without any musical instruments, “Oceania’ is a piece that consists entirely of human vocal sounds and spoken word. Similar to “South America’, it is the manipulation, sequencing and arrangement of these oral audio samples which creates the musical mood and invites the listener into an alternative, minimalistic sound world.

Egorsexahna / Antarctica

‘Egorsexahna’ kotioc ub muvalbuped si ni namprafugro duyejukilim yeuguzowsoc siqeyiw i isudqerexios. Egot kegum sa sulaqed yosef egot Dorian ugajs na egot vek fe D, xana sipeqes sexunem micutec iyugbuxohni qeyiw xacie vagto foemikiovgot. Wabihoxisdixnu ta lila ura vazes-hosigeyeg rexios xavaheffe mispezobaqews luhoxaped et fumezewter tigt buxav resiquproc’i kotoc, goci, yiebur xana wuflab upapijonijal.

‘Antarctica’ could be described as an orchestral minimalist composition within a soundscape. The music is derived from the Dorian scale in the key of D, and several melodic cells intertwine with each other throughout. Underpinning it all are self-generated sound effects specifically designed to represent this vast continent’s cold, icy, bleak and barren landscape.

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