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My creative project will be a continuation of my research project, where I'll incorporate traditional music with contemporary music following my research. I'll be creating a portfolio consisting of arrangements and compositions.

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My research project is mainly focused on Malaysian instrumentations, but I'd like to expand my portfolio to include other music cultures. Mainly, I'd like to incorporate elements of traditional Chinese music and Japanese music in my creative project as a continuation of my research.

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I've arranged an orchestral arrangement of a traditional Amami folk song titled Yoisurabushi. The version that I've chose to arrange is Ikue Asazaki's rendition of the song. I plan to re-work the instruments in the DAW, replacing plug-ins and adding more detail to make it sound more realistic. I also plan to record some live instruments such as the violins and layering them with the MIDI. I plan to also re-mix and re-master the entire track because I'm not happy with the current mix.

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YOISURABUSHI - Ikue Asazaki (Orchestra Cover and Arrangement)

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Pikiran dan Perjalanan is a rock song from the Indonesian band, Barasuara. I arranged it during the duration of my research project and I want to re-mix the song as well as polish up some parts such ass the bass lines. I felt like the song had a lot of potential to incorporate traditional instruments, so I did with traditional Malay instruments such as gamelan (plug-in) and kompang that I recorded live. I didn't have a seruling player, so I substituted the seruling with the dizi instead, a Chinese bamboo flute. I wanted to add in a rebana or a tabla, but since I didn't have access to one, I recorded a doumbek player. I also added in elements of Indian classical music such as the tanpura drone, sitar, and a style of singing inspired by Carnatic singers.

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Lan E and Liling are two Sarawakian folk songs that I've combined as a mash-up in my arrangement. I took the main sape line of Lan E and the vocal melody as well as lyrics of Liling and placed it over Lan E. I recorded the sape, drums, and vocals. I wanted to add the tabla or a traditional Sarawakian percussion such as the ketepung but I substituted it with the doumbek instead. I want to re-work the percussions of the song now that I have access to a wide range of Southeast Asian instruments through the Monster Ethnica plug-in. Besides re-working the percussions, I want to re-record the harmonies of the song as well as polish up the mix of the song.

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Pikiran dan Perjalanan (Rock)

Lan E / Liling (Folk)

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Kata Kosong (Pop fusion)

稍候时光 (Chinese contemporary classical)

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I started writing down ideas for the first composition. I was inspired by the song 'Kama Kula' by Hajime Chitose. I wanted it to be very groovy with elements of pop and funk like in 'Kama Kula', with a hint of jazz fusion. I plan for the composition to include just Malay instruments with a very optimistic and upbeat feel.

I decided that the song form will follow a very conventional popular music form to make it an earworm:

Intro

Verse

Pre-chorus

Chorus

Verse

Pre-chorus

Chorus

Instrumental

Chorus

Outro

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I recently was able to get the EastWest orchestra plug-ins which I will use to replace and re-work the instruments in the original arrangement. EastWest has a lot more customizations compared to the Musescore stock sounds which I had used previously. Using the new plug-in, I want to add more emotional depth and more detailed playing techniques and styles to make the arrangement shine more.

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Composition concept:

Groovy pop/jazz fusion style incorporating Malay instruments with Malay lyrics

Inspiration taken from Kama Kula by Hajime Chitose

Composition incorporates full band with drums, bass, guitars, piano, and vocals

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Mix the drums in Lan E/Liling ✅

Re-work the percussions in Lan E/Liling ✅

Mix the sape in Lan E/Liling ✅

Complete the chord structure and song form of FYP Composition #1 (Title: TBC) ✅

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I scrapped the previous mix that I submitted last semester and started over from scratch. The recording quality is not the best because there were a lot of problems with the studio when I did the recording session. There were a lot of bleed from the hi-hat mic as well, picking up a lot of the ride and snare. I wasn't happy with the sloppy job I did previously, so I tried to re-mix from what I've learnt during internship so far. The current drum mix is pending feedback from supervisor.

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I removed the doumbek part because I felt like it clashes a lot with the drums. I also felt like the doumbek didn't fit into the vibe of the song. I wanted something that sounds closer to what a traditional Iban set up would be, which is why I referenced the use of the ketebung, an Iban long drum or waisted drum. I had to substitue the ketebung for a similar sounding instrument, so I used a taganing batak plug-in from Monster Ethnica that had similar timbre to the ketebung. Ketebung can be played in a group, but I followed a traditional set up that involves a single ketebung accompanying the gongs because I have gongs in this arrangement.

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Ketebung and Engkerumong reference:

https://youtu.be/hVGqV15PUco?si=0xmCZeiXAEKzePh-

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belajar main engkerumong (Alat muzik iban) at engkranji layar betong

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Updated mix for the live recorded sape.

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I've done the general chord structure of the song, following the barrings that I'm planning to include. The feel for most of the song is upbeat, except for the pre-choruses in which I intend to dramatize. To keep the sections fresh, I may change the instrumental chords as well to fit some traditional Malay scales better. I also intend to re-harm the last chorus when I start writing the melody line. My intention when writing the chords are from a jazz fusion perspective, mainly by composers such as Jesus Molina.

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Mix the drums in Pikiran dan Perjalanan ✅

Re-work the engkerumong line in Lan E/Liling ✅

Re-record and mix the harmonies in Lan E/Liling ✅

Re-work textures and layers in Lan E/Liling ✅

Arrangement ideas for FYP Composition #1 ✅

Write the melody for FYP Composition #1 ✅

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While the chords are inspired by jazz fusion styles, my comping pattern and groove takes a large chunk of inspiration from Kama Kula that is almost percussive yet melodious, but not enough to take the attention away from the vocals. The chords are also extended chords, which is the whole basis of Kama Kula's chord structure.

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I recorded this the day that I recorded Lan E/Liling as well with the same drummer, same set-up, and same room. So, I used mainly the same plug-ins and tweaked the settings. This time, I was able to make the kick and snare punchier and more aggressive because this song is a rock song.

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Re-work the strings and percussions in YOISURABUSHI ✅

Record demo for FYP Composition #1 ✅

Mix all guitars, dizi, and lead vocals in Pikiran dan Perjalanan ✅

Start on FYP Composition #2 ✅

Finish Lan E/Liling (Pending approval) ✅

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I scrapped the previous gamelan line and replaced it with a conventional traditional Iban ensemble set-up/performance known as the taboh Iban. Taboh consists of the engkerumong, tawak (gongs), and ketebung. I substituted the engkerumong with a talempong plug-in because both have similar qualities as they are both knobbed kettle gongs. I watched references of people playing the taboh and tried to come up with something similar. Underneath the main talempong line, there are two gongs keeping the pulse of the ensemble.

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Taboh Iban

https://youtu.be/OtoAsxt757k?si=at-c-ViuOH7GlWus

https://youtu.be/hVGqV15PUco?si=X7ofIWoA-1n6_1U-

https://youtu.be/O_hdK8Sfn6k?si=g9tu-G5zJgJqHUl8

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I re-did the pads in the arrangement to fit the new arrangement. I also had a pianist re-record the piano patch in the intro. I mainly re-harmed the intro of the arrangement to incorporate modal interchanges, giving off a more open and mysterious feel to the song. However, I decided to keep the chords simpler for the remaining sections of the song to stay true-er to the simplicity of most Sarawakian folk music. The only instruments left I have to record is the classical guitar which includes comping and a solo.

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This is the current version with all the vocal parts. I re-recorded the harmonies of the song, forming a 3 part harmony. I also managed to mix and tune all the vocals, and all that is left is to record the classical guitar solo section and mastering of the song.

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Vocals

Main Vocals: Sarah Sahadan

Backing Vocals: Shanice Chan

Sape

Aaditya Joshua Srivastava

Piano

Athanasius Leong

Classical Guitar

Shanice Chan

Drums

Tom Pierard

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Chorus

I decided to include an 8 bar post-chorus to all the choruses because transitioning from the choruses to the verse feels too abrupt due to the song being 140 BPM.

Bridge/Instrumental

I decided to do something similar with Rhythm of Harvest (attached above), a song that I composed for Carlsberg Gawai Campaign when I was an intern in Maveriq. I used the chord progression of Eb--Bbm7--Gbmaj7--Eb in the bridge of Rhythm of Harvest, which I plan to re-use but reharmed to Eb--Bbm7--Gbmaj7--Ab2/Eb, and keeping a nice pentatonic scale melody on top of it.

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The verse and pre-chorus melody are pretty much set in stone, but I still need to tweak the chorus melody to make it catchier and hook-worthy.

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Finish Pikiran dan Perjalanan mix (besides female vox) ✅

Re-record the piano in YOISURABUSHI ✅

Finish lyrics for FYP Composition #1 ✅

*slowing down on work for other classes

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Vocals

Main Vocals: Joseph Chong

Female Vocals: YINY

Dizi

Shiyin Cheang

Piano/Keys

Athanasius Leong

Tan Jefman

Guitars

Lead Guitar: Chai Jee Yi

Rhythm Guitar: Brandon Cheong

Acoustic Guitar: Seow Kai Xian

Bass

Shanice Chan

Percussions

Thien Yi Yang

Drums

Tom Pierard

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Rough mix for Pikiran dan Perjalanan ✅

Start FYP Composition #3 ✅

Expand FYP Composition #2 ✅

Record female vocals for Pikiran dan Perjalanan ✅

*slowing down on work for other classes

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Pending approval from supervisor for the mix. I will be revising the mix according to remarks and comments given. The track is mastered to -12 LUFS

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This will be the recording track for the drummer that I will be recording in Week 8. For now, it's just the piano groove. I will be adding more layers to the production should I have more time to produce the track.

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I have the chords for the intro. The piece is will be a contemporary-classical piece with traditional Chinese instrumentation paired with the piano.

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I've completed the mix for the drums, guitars, dizi, and vocals besides the female vocals which I will record by the end of June. The other elements will be completed by the next or next two weeks.

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Vocals

Lyria (Loo Wen Hui)

Piano

Athanasius Leong

Bass

Shanice Chan

Drums

Thien Yi Yang

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Verse 1

Bintang sepi, tiada bayang tiada kawan

Jangan tanya siapa salah, sayang.

Pre-chorus

Bilang hutang dengan jejari darah yang bernafas dosa

Moyang harus dibalaskan.

Chorus 1

Kata-kata kosong,

Keringkan laut emas yang kau nak nikmati.

Habiskanlah,

Lumayan tanah yang kau dipijak dipijak.

Kata tiada makna jikalau angin hanyut ke kubur ibu.

Verse 2

Nyanyian kuang gema-gema tanpa rakan,

Hutan kubur lagu-lagu purba.

Pre-chorus

Bilang hutang dengan jejari darah yang bernafas dosa

Moyang harus dibalaskan.

Chorus 2

Kata-kata kosong,

Keringkan laut emas yang kau nak nikmati.

Habiskanlah,

Lumayan tanah yang kau dipijak dipijak.

Jiwa bumi 'nari asalkan

Jangan lupa rukun alam,

Pulangkan semua yang tiada.

Chorus 3

Kata-kata kosong,

Keringkan laut emas yang kau nak nikmati.

Habiskanlah,

Lumayan tanah yang kau dipijak dipijak.

Kata tiada makna,

Jikalau angin hanyut ke kubur ibumu,

Langit ampun asalkan,

Jangan lupa rukun alam,

Pulangkan semua yang tiada.

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Write melody and lyrics for FYP Composition #3 ✅

Arrange FYP Composition #3 ✅

Record vocal demo for FYP Composition #1 ✅

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I've revised the whole mix besides the bass and the female vocals for the outro. I'm planning to re-record the bass parts and I've yet to record the female vocals, which Nicole Cheah will sing.

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Composition concept:

Main inspiration from Merry Christmas Mr Lawrence by Ryuichi Sakamoto, alongside Kunqu Opera (a form of Chinese opera) and film soundtracks like The Last Emperor by Ryuichi Sakamoto.

Instrumentation includes piano, cello, erhu, and vocals imitating the style of Chinese opera.

Genre is reminiscent of Chinese contemporary classical works, with modern harmonies.

My last piece is a tribute to my best friend who had passed away in an accident a few years back. The instrumentation I used which are the erhu, cello, and piano are all instruments that he could play, so I decided to incorporate them into the piece. The song will be emotionally driven with lyrics touching on grief and missing a loved one.

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Record drums for FYP Composition #1 ✅

Finish all FYP Composition ✅

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The singer for my FYP Composition #1, Hanan, has unexpectedly pulled out last minute and I had to find a different singer. I combed through several different singers and eventually approached Lyria as my new vocalist for her pitch accuracy and her distinct singing style that can lean towards theatrical.

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Chorus

稍候时光，

明月尚含芳。

我歌催梦语，

君眠夜凉。

留步听心响，

月入寒窗，

东海托朝阳。

Verse

千重心愿

同归旧时愿

双雀承梦

穿越无尽长风

穹苍止泪

日升照红，

待汝相逢。

Chorus

稍候时光，

明月尚含芳。

我歌催梦语，

君眠夜凉。

留步听心响，

月入寒窗，

东海托朝阳。

Bridge

千曲已尽

句句皆是旧爱回响

命运分两岸

相见已无望

夜风送轻响，

心语随月光

但愿犹倾耳，

归路映微光。

Final Chorus

稍候时光，

明月尚含芳。

我歌催梦语，

君眠夜凉。

一宵星光亮，

一盏酒微香。

待月入梦，

日照山岗，

届时于你，

安眠故乡。

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Schedule recordings with musicians ✅

Fixing mix for Pikiran dan Perjalanan ✅

Naming the songs ✅

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FYP #1 - Kata Kosong

FYP #3 - 稍候时光

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Vocals

Lai Sukyin

Piano

Athanasius Leong

Erhu

Foong Le Xin

Cello

Yap Yi

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Finalise mixing and mastering 稍候时光 ✅

Finish mixing Kata Kosong ✅

Finalise mix for Pikiran dan Perjalanan ✅

Record bass for Pikiran dan Perjalanan and Kata Kosong ✅

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I don't have enough time to mix YOISURABUSHI properly considering it is a huge arrangement featuring a symphony orchestra's instrumentation. This project will be something I'll be continuing after graduation because I want to take my time perfecting the mix for this particular song. So, YOISURABUSHI will be cut from this portfolio.

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Finalize mix for all songs ✅

Finish master for all songs ✅

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Cello for 稍候时光

9th July at Editing Suite

Vocals for 稍候时光

10th July at Editing Suite

Erhu for 稍候时光

12th July at DFPA

Piano for 稍候时光 and Kata Kosong

15th July at FASS Gallery

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Record cello at Editing Suite for 稍候时光 ✅

Record vocals at Editing suite 稍候时光 ✅

Record erhu at DFPA for 稍候时光 ✅

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Record piano at FASS View Gallery ✅

Record vocals at Editing Suite for Kata Kosong ✅

Adding more layers and SFX to Kata Kosong ✅

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We spent all the time recording for 稍候时光 but we didn't manage to record Kata Kosong due to the high demands of the song. We decided to use Logic's Steinway plug-in for Kata Kosong's piano part. Turns out, it sounds nicer and fits better to the song's genre better than the live piano.

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Finish string layers of Kata Kosong ✅

Mix 稍候时光 ✅

Mix Kata Kosong ✅

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After a successful cello recording with Yap Yi

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Erhu recording set up using an SM81 facing the sound box and two AKGC451b in AB stereo method above the player.

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The full amount of layers in Kata Kosong

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The string layers feature violins, violas, cellos, and double basses. I wanted the strings to be energetic and dynamic that supports the vocal in bringing energy.

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Shanice _FYP Progress Project Reflections.docx