With seven and a half weeks to go until exegesis submission the pressure is on. Today’s recording session was executed with an aura of tension, which was noticeable at the very beginning, however, as we became familiar with our studio surroundings the quality of the session and the result, namely the bounced Mp3 of ‘Improvisation’ featuring Guzheng, Drums, and Javanese Gamelan cymbals was indeed a successful undertaking. The whole session consisted of three takes with each version lasting about 15-20 minutes long. With each version (take) becoming stronger and spirited. Soon we became aware of a real sense of artistry emerging. Becoming too conscious of what you’re playing as an improviser can stifle creativity and ruin the overall impact. As soon as my colleague and I listened back to the second version of the improvisation we decided to have faith in the improvisation process itself. Before long we both decided that being open and in the moment to new possibilities will provide intensity and vividness. Finally we both decided that eye contact was of great importance to the improvisation process whereas, discussion of musical landmarks for the next improvisation would be obvious and trite.
Back in the studio again today to focus on track 3 (West) that will appear on the Intervals (honours project) album. For such a short piece it was a very complex yet cogent piece of music to embrace. Interestingly, what was exciting about today’s recording session was the very limited conversation between my colleague on the drums and myself playing the electric guitar. There was an important mission to be carried out. The music spoke for itself. That might sound somewhat clichéd, but I like to enter the recording space with a positive mental attitude. By doing so this will produce consistent results and being prepared both mentally and physically is how to comprehensively get the job done. A major highlight from today was the main studio and having the ability to open up a wide range of technologies that made the song even more dynamic. It’s the beauty of learning that makes you fearful and excited. This was felt whilst listening back to the previous takes inside the main studio, and it’s a place that influences creativity.
Research led practice Practice-led research by Joseph Tabua
Recording session went well today with aim and target acquired after approximately six hours inside the main studio.
Track one titled iWelcome was recorded today with at least seven takes in total.
8 tracks created inside a Pro Tools session for one guitar.
The Roland VG99 and Fender Squire Stratocaster HSS was used for Part 1 of iWelcome. Patch 151 Space Sitar and my signature Billy Corgan Fender Stratocaster was used for Part 2 of iWelcome (Earth Guitar) Key of C# and the Key of A used today.
Because of the focus on the one song recorded today what was most fascinating was the new forms/versions of the iWelcome that began to emerge throughout the session.
Good morning, let’s record!The magic splitter AKA Moog Voyager VX 351 CV Expander. This is used to split the Roland VG99 and regular electric guitar which is then blended together to produce perfect balanced guitar sound.Roland VG-99.Roda Nt2A and KM 184 Producing a brilliant stereo image.My effects pedals and Fender Roland VG-99 Guitar Fender Squire HSSRoland VG-99It was a good day.8 tracks for one guitar The things you do for minimalism reinvention.
By using the studio as an instrument reminded me once again the importance of making sufficient use of the main studio and VST synthesizer Absynth 6.
With the following presets of Timpani, Kalimba, and Reverb playing simultaneously running through the desk and through the Roland VG99 allowing me to compose a coloristic theme conjuring up images of Africa and Fiji/Oceania.
The most significant aspect of today’s recording was the drone and tabla sound bed. The drone and tabla ios app played the role of a conventional basso continuo via my iPhone
Paramount to this specific composition are two extraordinary apps called iTabla and iLehra. These are used to represent intercultural aspects which includes the Fijian and Indian diaspora.
As my research has unearthed the Indigenous Fijians fondness of the guitar, ukulele and steel stringed guitar I feel that this represents my heritage and my identity profoundly. Thus, my utilisation of the electric guitar to narrate the written text of both the history of Fiji and the diaspora is a vehicle that is not merely a surface level viewing of the exotic or the Other. This is the life we have, the life, you have.
The most rousing take that emerged from the percussive track of iWelcome was the North African influence and the log idiophone tradition found throughout Fiji, New Guinea, Samoa and Tonga.
Likewise, most exhilarating in today’s recording session was that it was only through several attempts at trying to secure a quick take of the one track iWelcome that after several attempts the realization of finding more with each attempt iWelcome was becoming more vigorous. This created a deeper compelling composition that I would not have imagined developing three months ago.
Could this track represent my aim of trying to compose and reinvent minimalist music with a guitar driven voice?
During today’s recording session iWelcome take 3 & 4 utilised Absynth 6 to create a percussive style/version of the composition. This worked quite well, in fact it worked tremendously! Being in the studio space can at times feel intimidating. The feeling of being closely monitored under a microscope aspect one endures when recording in general. This occurred today at the very beginning of the session but it became much more easier as the session continued.
The mornings improvisation session hit its peak as my colleague and I journeyed into unknown territory by utilizing the Chinese Guzheng which is a 21 stringed instrument and an assortment of Javanese gongs.
Listen to a new improvisation titled ‘The Border Crosser’ from today’s session. https://soundcloud.com/josephmusic-2/the-border-crosser
It has been quite some time since my last visit here, the reason is that I have been busy working through final assignments for the semester. The semester was a battle at times but it was mostly under control thanks to my optimism and family. The only low point was the lack of composing and rendering of basic compositional sketches. I guess the words really do inform the practice after all. Interestingly, I have found rousing ideas and have been able to erect some cogent musical scaffolds, especially through interactions with colleagues. I’m still learning that as a lone wolf you still can maintain a deep focus, despite opening up to people about your research. It’s one of the newest things I’m beginning to see unfurl before me and I quite like it a lot. Arguing is the new black! Academic arguing of-course, it’s our bread and butter. So this is what we do, and this is what we feel. I have taken five days off from serious research. I will be back shortly.
Last night using my synthesizer I recorded the first movement titled ‘Baba’ which will feature in my three movement honors project composition. The piece uses limited pitch sets, dyads, triads, arpeggios, suspended chords and repetitive cycles. Common characteristics often found in classical minimalism. Over the past two months I have found it extremely difficult to commit to composing daily, because of the immense theoretical aspect involving my honors research. However, with all worthy enterprises pain must be endured. ‘Baba’ was inspired by an essay I read recently about Miles Davis and Karlheinz Stockhausen written by Barry Bergstein. Bergstein talks about their aesthetic practices and how they influenced each another. Tremendous essay, go read it for yourself, truly inspiring stuff.
Bergstein, B. (1992). Miles Davis and Karlheinz Stockhausen: A reciprocal relationship. Musical Quarterly, 76(4), 502-525.
Albums listened to this week
1. On the Corner by Miles Davis
2. Improvisations by Ravi Shankra
3. Solo by Nils Frahm
4. The Koln Concert by Keith Jarrett
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I have been invited to join the panel this afternoon for an interesting (blues) music performance and workshop forum. Starts at 1pm. The Playhouse Theater.
L-R Dom Turner, Joseph Tabua and Phil WigginsResonator guitar
“Congratulations on your cell being chosen for “in 4.” and thank you for being a part of this project.
This is just an email to let you know a few more details about the project.
We are looking forward to the premiere performance of this work on March 4th 2015 (check out event/link for tickets click https://www.facebook.com/events/1598979350333111 and cannot wait to share the performance with composers all around the world”.
Joseph Tabua 
