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Sound　Vol.3.5　Vol.3　Vol.2　Vol.1 to MENU

timing-progression.com Aratori　Vol. 3.5
2005.06　"Unnotated rhythmic counterpoint"
Aratori (keyboard) （アラトーリ）
Aratori's solo play,
realtime recording only.

Recorded
2005.06.30

Keyboard: CASIO PX-400R
(split into piano + marinba tone)
 01.
02.
03.
04.
05.

Total 9min 		Download and listen to MP3(32kbps).
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timing-progression.com Aratori Vol. 3　
2004.10
Aratori (keyboard)
Aratori's solo play,
realtime recording only.

Recorded
2004.10.04-10.08

Keyboard: CASIO AL-100R
(split into guitar + bass tone)
MIDI Sequencer: Tool de Music 3.1
Sound source: YAMAHA MU128
Computer: NEC PC9801 Nd, MS-DOS 5.0
Recorder: SONNY MDS-S39		 01. 175
02. 139
03. 113
04. 234
05. 188
06. 153
07. 125
08. 248
09. 201
10. 164
11. 101
Total 50:19		 Download and listen to MP3(128kbps).
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timing-progression.com Aratori Vol. 2 　
2004.08
Aratori (keyboard:
Kawai PW1000, vib+eleb)
Aratori's solo play,
realtime recording only.

Recorded
2004.07.31-08.06

 01. 171
02. 133
03. 89
04. 191
05. 153
06. 122
07. 75
08. 202
09. 162
10. 115
11. 62
12. 102
13. 144
14. 180
15. 222
16. 249
17. 50
18. 40
Total 33:40		 Download and listen to MP3(128kbps).
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timing-progression.com Aratori Vol. 1　　　　　
Look into our unnotated timing perception
Recording Data
Date: 2001.06.23
Player: Aratori
Instrument: Roland electronic piano,
with piano & viblaphone layered tone, slight reverve.
Recording Device: MiniDisk; analog, through analog line out of the piano.

Realtime recording while of course playing left and right hand
at the same time;
No afterward editing other than equalizing;
MIDI data was also recorded by a computer sequenser through MIDI
out of the piano. MIDI data is opend.
 1. Original 　(01:27)
2. 8bars1　 (00:13)
3. 8bars2　 (00:13)
4. 8bars3　 (00:13)
5. 8bars4　 (00:13)
6. 8bars5　 (00:13)
7. 8bars6　 (00:13)
8. 8bars7　 (00:13)
9. 8bars8　 (00:13)
10. Cut1　 　　　　　　(01:27)
11. Cut1 8bars1　　　(00:13)
12. Cut1 8bars2　　　(00:13)
13. Cut1 8bars3　　　(00:13)
14. Cut1 8bars4　　　(00:13)
15. Cut1 8bars5　　　(00:13)
16. Cut1 8bars6　　　(00:13)
17. Cut1 8bars7　　　(00:13)
18. Cut1 8bars8　　　(00:13)
　　　　　　　　　　　(Total: 06:58)
 e.g. 8bars2 = 2nd 8bars of 'Original', which is divided into eight 8bars.
cut 1 : One beat of someplace of 'Original' is cut. After that, you hear
another 'melody'. Cut 1 versions are avairable only in CD.


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Cut 1 version Since easily memorable melody makes your perception of TP be difficult, TP music is played in atonal. But after you listen to 'Vol.1 original' several thousand times, you may memorize some melodies of it. In order to avoid fixed way of listening, I suggest random listening: you start to listen to it at a random point of it. How? One is using the on/off switch of the player. Anotehr is using the on/off switch of your consciousness. If you can use the latter switch at will, you may be a Zen master!

Then, here is Cut 1 version, which will let you vacillate between the original melody and cut 1 version's melody with one-beat difference. That is a way of nullifying the melody and the structure.
I myself are experimenting how my perception of unnotated timing grows while listening Vol.1. I have listened to it about 100,000 times a year after my recording it. Realy? Yes, it need just 10 hours a day. And I continue to do. More a year or a few years, I don't know.
But it's interesting, curious. How are various proportions organized? Is there any prominent property other than proportion and beat length? How do we name it? Is there other property we should try to express?