Trombone Quartet "Reminiscence" (Full)

Shamisen played by Patrick Oiye.
We were experimenting recording the shamisen, first minute "Aiya Bushi" was recorded in ORTF, second minute "Yosare Bushi" was recorded in XY.
Both were mastered, the difference is still obvious. Posted with performer's permission.

Shamisen Recording Sample "Ayia Bushi" and "Yosare Bushi"

Based on true event, Last Night in The Hague ​takes a tender look at the pivotal moment when Vincent van Gogh and his live-in mistress, Sien, reach the depths of their poverty and Vincent struggles to support the family he’s adopted while remaining committed to his art.

Premiere: April 10, 2015 @ Pittsburgh Opera Headquarters
Director: Alex Tobey
Scenic & Media Design: Matt Sandler
Performed by: Carnegie Mellon Voice department and Contemporary Music Ensemble, conducted by Daniel Curtis

"Last Night In The Hague" By Chung Wan Choi (Excerpt)

Thanks Kenny Endo, Chizuko Endo and Kirstin Pauka for letting me post this recording.

"Kotobuki Jishi" Recording Sample

Performed by Taiko Center of the Pacific Youth Group
"Omiyage" was composed by Shoji Kameda.

Sample:
1) Center camera (Canon Vixia M40, mic level checked)
2) Main stereo (AB) on stage, raw
3) Auxiliary track "Hit" generated from 2)
4) Main stereo, mixed
5) Final mix: Main stereo + Aux "Hit", mixed

TCP_YG - "Omiyage" Recording Sample

Based on an F3 - F4 temperament I was first taught to tune piano.

Temperament Counterpoint

Dedicated to Peter Stumpf RPT.
It is a short piece based on a temperament sequence, which is a sequence of notes a piano technician use to develop the equal temperament from tuning just one note with a tuning fork. F-F and A-A sequence are the more common ones. Every technicians has their own sequence, either taught by his/her teacher or books, or develop on his/her own.
I composed this piece because it is an essential part of piano tuning, there is nothing more fundamental than combining piano tuning and composition this way. Using the traditional technique avoids any "bells and whistles", just like aural tuning. Ever since this piece was completed, I have been playing it after each tuning.
I love J.S. Bach, though I am not skillful enough to write in textbook fugue form, I did attempt to introduce voices one after another, tried to stack two subjects closely together and pack imitations of a part of the subject. The chromatic nature of the subject forces the harmony to shift constantly, that also mean a equal temperament is required. I tried to include as wide range as possible; I did want this piece to be practical (for tuning check), but in this instance, music has to come first. Aside from tuning checks, I was hoping that it could be something a new tuning student could have some fun with the dry beginning of the training.

Temperament Counterpoint (2017)

Temperament Counterpoint on Harpsichord (Vallotti)

Whether writing music, sharing a composer’s perspective, or engaging others in creative activities, Chung Wan Choi hopes that her momentary presence will leave the world a slightly better place. Composer, Taiko drummer, sound engineer, and bike commuter, Chung grew up in Hong Kong, one of the most densely populated cities in the world. In the midst of skyscrapers, Chung found herself seeking a more peaceful environment for composing music. A move to New York City to study at Mannes College of Music enforced a solid foundation on traditional musicianship, also plenty of refills on fresh brewed coffee to fuel creative work through the wee hours. Leaving behind the big-city flare, Carnegie Mellon University provided Chung not only a fine music school for developing her art, but also a vital community hungry for entrepreneurship and innovation. As a Master’s student, opportunities to work in concert productions, both as a musician and arts administrator, have been many. As an opera lover, Chung is currently working on a new collaboration: a 20-minute chamber opera, “Last Night in The Hague” to be premiered at the Pittsburgh Opera in Spring 2015.

Chung Wan Choi

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