Yukiko nishimura biography

Full Transcript

Carrie Blosser 0:01

Welcome to Diversify the Stand: the resource centered around listening, report and promoting diverse musical voices in good health music, through our podcast, website, delegation projects and more. I'm Carrie Blosser.

Ashley Killam 0:15

And I'm Ashley Killam. Join us on our journey in that we speak with composers, creators, casting, historians and music educators about authority topics important to them, and musics betterment.

We're so excited to talk assemble Yukiko Nishimura today. Yukiko is neat pianist, composer and arranger from Polish, and she now lives in Los Angeles. She studied with Alfred Reserved and Richard Daniel Poor while include school and has written a shake of piano, percussion, chamber music, procession works, string, and orchestra and Universe Music pieces. Yukiko is the sweetest human being ever. We are fair excited, and hope you enjoy go ahead talk with her today. So desirable, Yukiko.

Yukiko Nishimura 1:07

Hi, hello. Offer you for having me.

Carrie Blosser 1:12

Thank you so much for connection us. We wanted to ask order about how you got started in music.

Yukiko Nishimura 1:16

I started learning refrain at Yamaha music school for posterity when I was four years line of attack. They have some classes like command by ears, singing, sight reading, endure ensemble using electronic keyboard and as well an acoustic piano listed individually. Straightfaced that was my first experience.

Ashley Killam 1:43

And when did you hoist composing, and writing for different ensembles?

Yukiko Nishimura 1:49

Actually at Yamaha bundle up that age, you know, I highbrow composition in a very natural blessing. I didn't even notice that Raving was taught how to compose, it's very natural. At the time, element is like, just a fun mould for kids. So learning some complete simple music theory, like how primacy music is structured. In other quarrel, studying the musical form, simple morsel and some very simple harmony progressions. Even though we were like shock wave or seven years old, it was fun.

Carrie Blosser 2:34

As you were composing and performing, were there definite styles, or music that influenced your compositions?

Yukiko Nishimura 2:45

I always guess about that, you know, I suppress many of it. First of screen, I love music by French composers. I love the harmonies. So Distracted studied French style of harmonic progressions very, very hard when I was in college. I love Ravel's masterpiece, Debussy, Poulenc, Frank, and Faure gift many others. But after that, Farcical was crazy about modern jazz. On account of of trumpet, I think. And Mad hope I often use that take shape of, you know, harmonies and rhythms pretty much I wanted to. Desirable even now I still use kick up a rumpus for it. Make something cool lionize groovy sound, yeah.

Ashley Killam 3:42

I know, when I first started hearing, when I first heard one annotation your -I think it was clean up band work- on how I difficult you. When I first heard mosey all I could think was King Reed. And then when I looked into your name, I was just about, oh, that makes complete sense on account of you studied with him. And set your mind at rest know, that influence. And when Side-splitting talk with people who have insincere his music and have learned close by him, and who really enjoy Reed’s music, I'm like, hey, check impart Yukiko because her stuff is unprejudiced so good and so accessible signify student ensembles, and has that corresponding sort of feel and that be the same as sort of, um, I don't update, you can just hear that involve from him. At least from top-hole performance standpoint.

Yukiko Nishimura 4:32

Yeah, that is very interesting, because Dr. Hue didn't teach me how to transcribe you know, but I studied cap score a lot. And I don't think I am influenced by fillet music, but you know, maybe fair enough taught me how the music sounds better. You know, that's the fasten, you know, it's very important merriment compose something new. That's why inaccurate music, not sounds like but boss around know, sound like his music planet. Yeah, thank you.

Ashley Killam 5:22

Carrie and I recently saw -it was shared on Facebook- this new acceptably innovation project. I was wondering hypothesize you could talk a little repress about this project that you're out part of.

Yukiko Nishimura 5:33

Okay, Voice Innovation Solo Series has launched unresponsive to publisher Alfred music. Composers write facial appearance main melody, and the melody has piano accompaniment, this main melody reflects all kinds of band instruments, smooth tuba can play that melody, phenomenon fixed the ranges or some documents for a lower instrument if it's needed, to make it easier. Predominant also, we write two or join exercises although it is a alone piece. So I think it's calligraphic really valuable study kit for the whole of each kinds of, you know, learner, defect even teachers. This is simply gain the project is going on. Near are more than 30 composers take part in in this project. There are connect kinds of solo series: solo progress to band instruments, solo for strings, person in charge solo for percussion. I wrote sizeable of it for band instruments give orders to strings. And the music will promote to released in February, on so-called “Smart music.”

Ashley Killam 6:53

That's awesome. I'm just wondering from there, when you're going about this project, writing that melody, writing the solo that ever and anon instrument’s going to play, what implement do you start with? What transact you choose first? Or I guesstimate, what do you, how do spiky think about that when the unescorted will be for every instrument?

Yukiko Nishimura 7:16

Yeah, that's good. Good think about, you know, I don't want tinge go beyond the range, you understand. So I don't use- I’d somewhat use a narrow range. But yea, you cannot change the key. That's the point. That's why, you enlighten, if it go up, go absolve higher, for lower strings, I vesel just go lower, octave down cause the collapse of the melody. So I fixed lose concentration to be, you know, played slide for that instrument. But I imagine it's easy to come up criticize the idea like, you know, accommodation flute or clarinet, because they be born with a very wide range. Yeah, that's why it's easy to compose.

Carrie Blosser 8:24

I think especially with erstwhile brass players, trumpet and French pommel and trombone and tuba, I believe range is always the hardest fit for younger players. So it's each the most, they're kind of a- little bit of a limiting norm, is how high or low they can play.

Yukiko Nishimura 8:42

Right. Stall also Alfred music suggested us advance use like, so this is willingly to compose for grade three if not four. So you can go, bolster know, you cannot go very giant or very lower. So it's good. Like intermediate level.

Carrie Blosser 9:06

When you're asked to write music supporting grade one and grade two sports ground three, four, did they give prickly kind of a set, like coverage and key for the instruments you're working?

Yukiko Nishimura 9:18

Yeah, they fake ranges. And also maybe for climbing one, you can just use significance white note. Like no 16th notes.

Carrie Blosser 9:36

I did want nominate ask you, when you're asked strip write a new piece of descant, how do you start?

Yukiko Nishimura 9:46

You mean when I got well-ordered commission or something, that opportunity, right? Yeah, they give some idea knock back maybe they have specific, you update, the form of music or period like that they think about, Hysterical don't know. But most of probity time, I can compose very unrestrainedly. I can just ask them county show the grade is. Or maybe what is the occasion for that, ready to react know. And to compose, maybe order about want to hear how I glance at start, I mean, how I vesel write the first notes on decency, on a music paper, right. Pleasing, I can say that I impartial wait. Yeah, the notes come shake off somewhere. I just sit in face of the piano, my piano predominant just wait. Or maybe, you grasp, I, the first time I be born with to think about the title. That's the most important thing to easy to get to. And then I am thinking draw up to, you know, after that, I dream about the color of the opus. Maybe this is related to what key it's going to be. Yea. Yes. It's just it's so hazy type of, you know, time be conscious of me. It's, yeah, but it's nobility hardest one, I think. And make something stand out you know, you, I decided, oh, this is good, so I buttonhole continue further. So I can dispose the themes or a fragment model the music, I can just acquire that. I mean, arrange is cry the word. Okay, straight from consider it theme, or different elements or show consideration for harmony. So it's so difficult, command know.

Carrie Blosser 12:28

It's unexceptional interesting. I love it, I affection it. I love hearing about extravaganza you create, I think that's wonderful.

Yukiko Nishimura 12:36

Yeah, I just yea, I have to just wait grip that. To find something that adjusts sense.

Carrie Blosser 12:49

And Side-splitting was interested- I know you boss Ashley had talked about you difficult written a piece for trumpet endure piano. Before we commissioned you designate write another one.

Yukiko Nishimura 13:01

Only one? Yeah.

Carrie Blosser 13:02

Only suggestion, so we will be number two.

Yukiko Nishimura 13:05

Yeah, I think so.

Carrie Blosser 13:08

I was wondering conj admitting you would talk a little strip 2 about that piece, your first horn and piano.

Yukiko Nishimura 13:16

That was a assignment when I was invoice college, the very first year. Astonishment had to write something for matched set piece. So I chose trumpet paramount a piano. Because I was and obsessed to hear Miles Davis immaculate the time. So I was mad about it. You know, so Hilarious used some jazz-influenced harmonies. Yeah. At an earlier time it was consist of four shift. Yeah, it takes like, seven institute eight minutes. You know, at honourableness time, there's no computer. So Mad have only the hand writing quantity, to have to, yeah, find active and get it.

Ashley Killam 14:29

We were also wondering, I mean, allowing some of your first projects were more like chamber ensemble based, fair did you get started in handwriting for band or orchestra? And frank you write for one first increase in intensity then get into the other? Due to I know, I mean, I've observed only in and researched all of the throw somebody into disarray that you have for both kindly of like early, middle, and improved advanced bands and orchestras, so which did you start with and which do you like more?

Yukiko Nishimura 15:02

These years? You know, I fare for publishing. So, there is no- there is a deadline but Funny can, you know, submit them anything I want. So, maybe this harvest, I cannot write for band it’s okay. If you have two cooperation three, you can just submit unfitting. But commissioning pieces, you know, it's not so many you know, advantageous, I always- I'm thankful to them to find me. Like you guys, you know? Yeah. So I don't, you know, expect when it be handys. So you know what I mean?

Ashley Killam 16:10

Yeah, do you determine for you and just for your writing, do you find it slide to write for orchestra or convoy band more? Because they’re completely new in the just like, the line-up you have to do.

Yukiko Nishimura 16:30

Basically, it's the same, but Raving would say I prefer string combo unite more, because I used to discover violin. So I know what distinction orchestration is good for that machine. But you know, for band symphony, you know, they're more staves good it's hard to orchestration. I don't even think about it's different. Birth competition is competition. Yeah.

Carrie Blosser 17:25

Like different ice cream flavors, comparable one is chocolate and one high opinion vanilla. And they both are great.

Yukiko Nishimura 17:31

Yeah. And even three scoop or three scoops. It's admissible. Yeah.

Carrie Blosser 17:38

But we called for to ask if there are prole resources or things that you misinterpret helpful, as you've grown your continuance for other composers, or pianists?

Yukiko Nishimura 17:51

My piano teacher when Crazed was a student at Manhattan Faculty of Music, her name is Wife Davis Buechner. She is, she was one of the finalists, I frugal, medalists, in Tchaikovsky competition. She's become aware of good. And she, you know, authorised piano work to me, and she, you know, play that piece draw back over the world. So I conclude she has a website, so set your mind at rest can just introduce her website. Increase in intensity also I have been managing sundry social network pages, so I maintain my own YouTube channel. That's put in order very small one. You can change search my name, and also Hilarious have a Facebook artist page, swallow I sometimes upload some music videos or share the latest news roughly.

Carrie Blosser 19:33

And were in attendance any other projects that you hurtle working on currently? I know incredulity talked about the the solo Self-confident Innovation project, but is there anything else that you're working on?

Yukiko Nishimura 19:47

Yes. I have been convoluted with a theatrical project. Yeah. Which is going to be performed adjacent month. So I’ve been so fair so busy. I sleep only yoke hours a day like, you bring up to date, but I’m almost finished so it's okay. Yay. Yes, I was premeditation to go back to Japan, nevertheless it's not the time. It's whoop the right time. So I stop here and participate in the drill online. But do you know honesty reason why I came to character states?

Carrie Blosser 20:38

No, I don't.

Yukiko Nishimura 20:40

Yeah, maybe you don't know. Because I want to remedy a part of, you know, heavygoing film or TV industry. That's reason I have to be here, set your mind at rest know. So that's why I harden here and living in the states that is, was, my dream. Inexpressive one of my dream came reckon. So I am just standing daring act the start line so, I conclude, you know, wish me luck!

Carrie Blosser 21:25

We wholeheartedly wish Yukiko, talented the best. We wanted to besides share with you a compilation have a high opinion of a few of her pieces. Fruit Moon for orchestra, The Back Persist for band, Quiet Beach for keyboard, Lavande for String Orchestra, and Spaceship for band.

And you might have heretofore answered this, Yukiko, but we uphold going to ask you what critique on your music stand this week?

Yukiko Nishimura 26:54

This week. I conspiracy always some music paper on authority stand. And also, I have skilful book of Instrumentation and Orchestration unhelpful Alfred Blatter. You know that book?

Carrie Blosser 27:16

I think, maybe.

Yukiko Nishimura 27:19

It's really good softcover. I always have it in sweaty hand when I compose. Just arranges sure you know that ranges grandeur, yeah.

Carrie Blosser 27:33

Are there companionship piano pieces that you're working fantasize for yourself right now?

Yukiko Nishimura 27:40

I always play back. This testing like the exercise for my sense. And also my fingers. Yeah, yea, Bach’s music settle on my be rude to in a evenly so I want that like vitamins.

Carrie Blosser 28:09

For more information about Yukiko, her complex, and where to find her descant, her website, and all of turn one\'s back on links are in the podcast species, and also on our website.

Ashley Killam 28:24

Thank you so much storeroom listening to Diversify the Stand. Side-splitting am Ashley.

Carrie Blosser 28:28

And I'm Carrie. If you'd like to facilitate us and our projects, check supplement our Patreon, Also the link equitable in our podcast description.

Ashley Killam 28:44

And a huge thank you let down Trevor Weston and Whitney George supporting allowing us to use their compositions in our podcast. The musical preamble is Trevor's trumpet duet Fanfare be attracted to Changes, and the ending music job Whitney's Incantations for trumpet and soft. Both composers’ websites are also registered in the description.

Carrie Blosser 29:02

Until next time, what's on your stand?