New Arrangement of Chinese feeling
Music
Haojun Qi

M.Mus in Contemporary Performance Candidate
Supervisor: Enric Alberich
Berklee college of music Valencia Campus
July 2014

ACKNOWLEDGMENTS

I would like to express my profound gratitude and
deep regards to my academic advisor, Enric
Alberich, who helped me with the organization of
the proposal; to my committee member,
professor and also my friend Polo Orti, who
taught me how to arrange a new song as well as
let me know how to be a better bass player in a
band, and to my committee member Mario Rossy,
who helped me a lot in analyzing and using jazz
harmony.


 

1
 

1. Introduction:
My name is Haojun Qi; I was born in a traditional Chinese family. With this
circumstance, I grew up listening to the traditional Chinese folk music. When I
was young, my mother told me I could sing melodies at the age of two, maybe
this was the reason she forced me to take the piano lessons when I was 6.
Actually, I didn’t like playing the piano because it took time away from playing
and furthermore, many parents sent their children to learn this instrument at
that time. It seemed that playing piano was not so special, so I gave it up after
2 years. However it really helped me to develop listening skills. From that time
on, I always liked singing songs to cheer myself up. When I was 12, I bought
my first tape. Time passed, and I found that listening to music couldn’t satisfy
me anymore; so I asked my parents if they could buy me a guitar. Then I got
my first guitar at the age of 14 and taught myself how to play during the
following days.
I still remember the first time I heard a CD named Word of Mouth by Jaco
Pastorius. I was very attracted by the sound, which was a little weird for me at
the moment. I was dying with curiosity about that sound until I knew it was from
the instrument called fretless bass. That is the why I began to learn electric
bass. It may have been late for me to start play music as my life goal, because
playing an instrument needs so many skills, which are better to train from very
young. Of course, I know that starting to play an instrument from childhood is
the best way to prove “practice makes perfect”. However, for me, the age of 17
was the first time I knew what I really wanted to do. This time I didn’t go half
way and I practiced bass almost everyday with all my aspiration. In 2006, I got
the honorable mention in Shandong Guitar Festival. The next year, I got the
second price in the Chinese Guitar Festival. At the age of 24, I finally got the
first price in the same Festival. That is how playing electric bass transformed
from my hobby into my life pursuit.
In the beginning of learning music, I was caught up by Chinese rock music.
However, soon after I started my studies in electric bass, I turned my interests

 

2
 

towards funk music. I listened to more Western bands and explored different
grooves in different genres of music. After studying bass for three years, I was
accepted in Shandong College of Arts, where I finished my bachelor degree in
popular music performance.
During the time I was in the college, I also studied Chinese History,
anthropology, and Chinese philosophy in another university. This has helped
me a lot to understand music. Because I always know the farther back you
look, the farther forward you will see. I chose to teach in the university after
graduation. During this period, I helped some Chinese super stars recording
their albums and I was the bass player in some talent shows. After that, I found
out that the thing I most love to do is being a session player.

2. What brings me to Berklee:
I graduated in 2012, and in the same year I got the news that Berklee had
opened the Valencia campus and offered a unique curriculum and an
unparalleled faculty of inspiring educators and cutting-edge industry
professionals. This matched perfectly with my life goal. As it is the top music
school with the most professional teachers in the world, I knew it was an
opportunity to realize my dream.
Actually, Berklee Valencia is a musical Disneyland for me. I have met many
good musicians and most of them are very Jazz oriented. Berklee Valencia
has a pretty high focus on Jazz and Latin music, because of the combination of
Berklee tradition and the campus location. Neither Jazz or Latin music are my
strengths, but it is a challenging and useful learning experience when I try to
adapt to ensembles, forums, and other formats. After playing jazz and Latin
music for a while, I started to look at music with different perspectives and also
made some progress in my critical listening skills.

3. Proposal Objectives
A new Chinese feeling music—to fuse Chinese style music and Western

 

3
 

contemporary music.
Will this new type of music change the original feeling of a Chinese song?

3.1 Justification:
Music has the possible effect to change people’s sentiments. What I am doing
and what I want to do is to use my music energy to make people feel better. I
am trying to find a way to put an infusion of fresh blood into Chinese music. I
take into account the relationship between lyrics and melody. It will bring
different visual imagination to the listener.
Music is a worldwide language, although we may not be good at English or
Spanish, music could express a powerful emotion. Although one may not
understand my Chinese lyrics, with the movement of the music, it still can
touch your heart. Especially since Chinese words are different than English>
Chinese lyrics prefer not to address the feelings directly and leave it to the
imagination to the audiences, while English songs prefer to present the feeling
directly. I think music could connect with the imagination and they would give
each other feedback.
I would love to add the concept of Western pop music into the Chinese
traditional one.

3.2 Methodology:
In traditional Chinese music there are several pentatonic scales based on
the Chinese chromatic scale called the "12 Lü" (Chinese: 十二律, Pinyin: shí
èr lǜ). The first reference to, "the standardization of bells and pitch," dates back
to around 600 BCE while the first description of the generation of the pitches
dates back to around 240 CE.1
This chromatic scale was derived using the same calculations as
Pythagoras did, based on 2:3 (perfect fifth) ratios (8:9, 16:27, 64:81, etc.);

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
1 Needham, Joseph (1962/2004). Science and Civilization in China, Vol. IV: Physics
and Physical Technology, p.170-171.


 

4
 

known as the Pythagorean intervals. Although these 12 Lü frequencies
approximate the 12 known in the West, some of the notes are a bit flat or sharp
to our ears because the Chinese system does not use equal tempered tuning.
Note Names
* 黄钟 - Huáng Zhōng -- Tonic/unison
* 大吕 - Dà Lǚ -- Semitone
* 太簇 - Tài Cù -- Major second
* 夹钟 - Jiá Zhōng -- Minor third
* 姑洗 - Gū Xiǎn -- Major third
* 中吕 - Zhòng Lǚ -- Perfect fourth
* 蕤宾 - Ruí Bīn -- Triton
* 林钟 - Lín Zhōng -- Perfect fifth
* 夷则 - Yí Zé -- Minor sixth
* 南吕 - Nán Lǚ -- Major sixth
* 无射 - Wú Yì -- Minor seventh
* 应钟 - Yìng Zhōng -- Major seventh

Most Chinese music uses a pentatonic scale, with the intervals (in terms of lǜ)
almost the same as those of the major pentatonic scale. The notes of this
scale are called “宫(gong) equals to 3(Mi), 商(Shang) equals to 2(Re), 角(jue)

 

5
 

equals to 3(Mi), 徵(zhi) equals to 5(Sol) , 羽(Yu) equals to 6(La)”. By starting
from a different point of this sequence, a scale (named after its starting note)
with a different interval sequence is created, similar to the construction of
modes in modern Western music.
After 1949, Western music came into China and classical music had a huge
impact on Chinese music. We began to use Pian tone, so to speak: when it is
Key of C major, Pian tone is in the forth and the seventh degree, which is equal
to C natural scale.

Image of orchestra 1949, China

Add pian tone in Chinese music has enriched the song itself, however the
feeling of Chinese music never changed, we still use a pentatonic scale as the
main part of the song.

Therefore I have a new idea for Chinese music--A new Chinese music

 

6
 

feeling—to fuse Chinese music style and Western contemporary music
together. Will this new type of music change the original feeling of the Chinese
song?
To achieve the end goal, I composed new songs, but also incorporated
existing songs and melodies from Chinese traditional music. I think the most
important task is to find the right harmony for a simple melody. I needed to
know more about jazz harmony, especially the re-harmonization techniques, to
make it work in the Chinese melodies. I also needed to find the right
combination of instruments to fit the sound I’m searching for in different songs.
After all the preparation, l started to rehearse and develop the timber/tone. I
played with the band and asked my MTI engineer to explore the sound
together with me.

3.3 Process:
First, I used Chinese pentatonic to compose my songs, which made the songs
have a strong Chinese style. Then I added contemporary harmony and rhythm
into the songs. Since I learned Chinese history and Chinese philosophy during
my university time, I wrote the Chinese lyrics with typical objects, sceneries
and the history of China. Even a Chinese poem was also quoted into a song.
Even though one may not understand the meaning of my song, the melody
could be comprehended as part of the Chinese style.
These 3 songs I composed with lyrics have strong Chinese feelings. But,
regardless of the lyrics; the most important thing is the melody. I used minor
Chinese pentatonic scale as a basic melody in three of the songs.

However, when you are listening to these three songs, you may think the

 

7
 

melodies are quite different, but the feelings are the same. It is because I used
different Pian tones to compose these songs.
At first glance, there is no big difference between the Chinese pentatonic
structure and Western pentatonic structure. Digging deeper, the Chinese
pentatonic has five leading tones with 2 pian tones, while Western pentatonic
has seven tones, and there are no leading tones or pian tones. This distinction
is fundamental, because it provides the main rules of melody. In a listening
sense, pian tones are unstable tones in the scale. When pian tones appear, a
descending melody should solve it.

3.4 Tools:
Using the Ex-writing products by myself
Piano, keyboard, Acoustic Guitar, Electric Guitar, Electric bass, Acoustic Bass,

3.5 Expected Outcome: I would expect about half of the audience
that listen to this music, to enjoy it after hearing it, although the combination is
unexpected.

3.6 Creative:
I made a 4 songs EP by using Chinese Traditional melody but with
contemporary arrangements. By contemporary arrangements, I’m referring to
three factors that I think are essential: harmony, instrumentation and the
timber/tone. Chinese traditional music has a very different way of harmonizing
the melody and it’s more complicated than a just pentatonic scale, so I think it
is a good exploration to combine Chinese traditional melody and harmony,
which will also give the melody a different color and feeling. For the
instrumentation, I will have bass, drum, keys (piano or keyboard), and
percussion as the basics, and add color by using guitar or other instruments.
For the tone, I want to try out the very natural sound and the very filtered sound

 

8
 

of the instruments, which also requires the exploration of different
microphones.

4. Describing the song & production:
4.1. Grassland Lady
Recorded on October 26th, from
2 to 5 p.m.
My band partners：
1. Piano: Djudju Hartono
2. Double Bass: Max Ridley
3. Pecussion: Sergio
Martinez Diaz
4. Voice: Haojun Qi
5. MTI: Pierluigi

Lyrics Translation:
There was a girl who lived in grassland and brought me to the
region of dreams.

However I was in a despondent mood when she came into
my mind again: I saw her standing out of the moon light with a
suitcase held in her hands.

I saw her running before the wind and crying for the sunset.

Between the vast sky and the boundless earth, flocks and
herds appear as grass bends to wind. (A Chinese poem)

She asked herself, how to describe a remote place if she
could never arrived.

 

9
 

She looked far into the distance, hoping in vain to see the
answer.
Sitting in the prairie, looking at silver bloom against black,

She muttered with melody, and the wind sang back in return.
I heard the flute whistling and the bell ringing,

It was the chant rolling in her heart.

In my dream, I could see her dream.

I pray for the sun only shinning for her.

At last she turned back and told me,
“You have the ability to hear the sound a flower blooming,

You can see the sun right behind the dark clouds.”

I also want you to know,

The destination for me is the place where my destiny is
standing right beside me.


 

10
 

Score

Grassland Lady
q = 66

Intro

Haojun Qi
E b maj7

F m7

b 4
b
& b 4 w

w

b
&bb w

5

%

C m7

b
&bb ˙

9

D m7 ( b 5)

b
& b b ˙.

13

C m7/B b

C/A b

D m7 ( b 5)

œ

F 7( #11)

C m7

œ œ œ. œ œ œ
œ

œ

b
&bb

œ.

D m7 ( b 5)

bb œ .
b
&

21


 

jœ
nœ
G 7( b 9) sus

œ œ.
J

Cm

œ œ
œ
J

˙
C m7

1.

D m7 ( b 5)

œ

œ.

w

C7

F m7

œ.

Ó

C 7( b 9)

B b7

F m7

œ.

œ

œ

B
G7

C -maj7

w

F m7

2.

17

G7

w

œ œ œ œ œ. œ œ œ œ
G7

w

D m7 ( b 5)

w

C m7/B

C m7

w

E b maj7

F m7

A

D m7 ( b 5)

E b maj7

œ œ ˙

G 7( b 9)

œ œ

B b7

E b6

œ œ.
J
œ œ.
J

Œ

C m7

jœ
nœ

B b7

A 7( b 9)

œ œ.
J
œ
J

E b6

œ.

‰ œj

G9

w
A b maj7

œ ˙
J

A b maj7

œ ˙
J

11
 

..

Grassland Lady
2

Interlude
D m7 ( b 5)

b
& b b œ.

25

D m7 ( b 5)

b
& b b œ.

29

D m7 ( b 5)

b
&bb w

33

D m7 ( b 5)

bb
b
& w

37


 

G 7( b13)

j
œ œ

C m7

œ

j
œ œ

œ œ œ œ
œ

w

G7

B b7

To Coda F m7

Coda

C -maj7

œ

w

C m7

w
G7

fi
w

F m7

D.S. al Coda
F m7

w

E b6

A b maj7

œ œ œ
œ œ œ œ
E b maj7

w

E b maj7

w

C -maj7

w

12
 

œ œ

4.1.1 Arrangement:
For the introduction of the song I used Khoomei. Khoomei, Hooliin Chor (in
Mongolian, ‘throat harmony’), or Mongolian throat singing is one particular
variant of overtone singing practiced by the Mongol people in Mongolia, Inner
Mongolia, and Tuva. It's inscribed on the Representative List of the Intangible
Cultural Heritage of Humanity of UNESCO of 2009, under the name
"Mongolian art of singing, Khoomei".2 The Mongolian art of singing Khoomei,
is a style of singing in which a single performer produces a diversified harmony
of multiple voice parts, including a continued bass element produced in the
throat. It is traditionally a softer sounding style, with the fundamental (or drone)
usually in the low mid to midrange of the singer’s normal voice. In this style,
usually 2 or 3 harmonics can be heard between one and two octaves above
the fundamental. In Khoomei, the abdomen is fairly relaxed, and there is less
tension on the larynx than in other styles. Pitch is manipulated through a
combination of movements of the lips, throat, tongue or jaw.
Ethnomusicologists studying throat singing in these areas mark Khoomei as
an integral part in the ancient pastoral animism that is still practiced today.
Often, singers will travel far into the countryside looking for the right river, or
will go up to the steppes of the mountainside to create the proper environment
for throat singing.3
This is why I put Khoomei into my song, Grassland lady. The background of
the song describes a lady living in a grassland in Mongolia. If someone could
imagine beautiful grass textures when hearing the introduction, it is already
half a success.


 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
2
 

Mongolian
 art
 of
 singing,
 Khoomei, Inscribed in 2009 (4.COM) on the Representative List of the
Intangible Cultural Heritage of Humanity,
 
http://www.unesco.org/culture/ich/index.php?lg=en&pg=00011&RL=00210,
3 Slobin, Mark. Ethnomusicology. Volume 36, No. 3, Special Issue: Music and the Public Interest. (1992),
pp 444-446
 


 

13
 

4.1.2 Melody & Harmony:
Firstly, I used a 4 bars motive development pattern to compose the melody,
although its rhythmic pattern has changed a little, it won’t change the function
of a 4 bars motive development pattern.
Secondly, I use the minor Chinese pentatonic scale to compose the basic
melody; adding harmonic minor with nature minor, which called pian tone in
Chinese to enrich its melody.
Harmony: Descending minor line cliché progressions followed by diatonic to
express more intense emotion.

In this key, blue marks are the nature minor of second and sixth degree
The red mark is the sharp seventh degree in harmonic minor.
The song was composed skillfully to break regularity and those four bars are
repeated during the whole song.
Harmony：I wrote and original triad harmony for the song.

Then I used the re-harmonization technic to change harmony from triad to

 

14
 

seventh chord.
Also, I used descending minor line cliché progressions to follow diatonic in the
song, which would express the level of the emotion more clearly.
Frame drum: Bolero Jazz Ballad

I get the sound from Frame Drum by swiping with the hands instead of the
sound from the brushes to make my song sound more close to nature.
If one can see a beautiful composition and somehow a very sad story hidden
behind when hearing the song, it works.

/ = Ghost notes
= Slap sound
X

= Open sound

This groove loops through the whole song.
I considered that acoustic is the key to make the sound and feel match the
lyrics perfectly. For this, I choose Udu, Frame drum, Bass drum and
percussion toys to add colors and textures to the music.


 

15
 

4.2. Night of Shanghai
Recorded: from February 5th, 11 p.m. to February 6th, 2 a.m.
My band partners：
1. Piano: Djudju Hartono
2. Bass: Haojun Qi
3. Pecussion: Sergio
Martinez Diaz
4. Drum: Andre Walker
5. MTI: Yohahn Jo

The original song was written in the last century’s 1940’s and
Zhou Xuan4, an iconic Chinese singer and film actress at that
time, sang it. The song was composed with nature minor and
simple harmony, however it was played with a jazz big band.
Original song link:
https://www.youtube.com/watch?v=NjXYwDNhMG8

Shanghai was in the war years at
that time, and the song was sung in
Shanghai's

French

concession

where there were many foreign
invaders, so Shanghai’s nights had a
Western

style

to

please

the

invaders.


 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
4
 

Emilie Yueh-yu Yeh. "Chapter 12 - China" In Corey Creekmur, Linda Mokdad. The International Film
Musical (Traditions in World Cinema).


 

16
 

Original Score:


 

17
 

Score

Shanghai's Night
q = 145

Intro

Haojun Qi

B b6

A b7

b 4 ‰ j! j
b
& 4 œ œ. ˙
G m7

b
&b ‰

5

%
A

b
& b .. ˙

9

C 7sus

b
& b ˙.
b
&b ˙

17

˙

b
&b ˙

21

˙

‰

w

œ

œ

C m7

b
&b ˙


 

˙

˙

F7

w
D 7sus

˙

C m7

‰ œ œ œ

w

˙

˙

2.
25

G b maj7

F 13

B b maj7/A

w

..

w

˙

˙

B b 13

˙

j ! j
œ
œ. ˙

F # 7alt

œ

˙.

w

F7

˙

G 7sus

D b7

j! j
œ œ. ˙

G m11

w

œ

1.

G 7sus

G b maj7

A b 7( #11)

˙

13

B -maj7

w

j ! j
œ œ. ˙

B b6

‰

˙.

w
Œ

B b maj7

w

To Coda

F7

..

"

F7

"

18
 

Shanghai's Night
2

B
A b 7( #11)

b œ œ
b
& J

29

G b 7( #11)

b
& b œ.

33

fi

Coda

C m7

b
&b Ó

37

œ œ
J
œ œ
J
Œ

œ
œ

œ

D b 7( #11)

œ

F7

¿ ¿

kick


 

E m7 ( b 5)

¿

œ œ ˙
œ
Œ

œ
Œ

A b 7( #11)

œ

œ
œ

œ

G b maj7

˙

B b maj7

¿ ¿ ¿
>

G 7( b 9)

œ œ œ
œ

Œ

œ œ œ.

œ
J

F 7(# 9)

œ œ nœ
Œ

w

D.S. al Coda

"

¿ ¿
> >

19
 

Shanghai is quite different
now from before.
According to the new image of
Shanghai, I did the new
arrangement with electric
guitar, electric bass and
keyboard, drum and
percussion.

4.2.1 Melody & Harmony：
The melody itself has a very traditionally Chinese diatonic and remains similar
to the original one, however I did some changes with a fake melody.
Harmony：
The relationship between the melody and harmony falls on the tension.
As the screenshot below shows：
a. The original song in the forth bar of the first line was B flat major triad. I used
M.I technique to change it into Gbmaj7.
b. At the second bar of the first line, I first used D7 however the sound wasn’t
strong. So I used triton substitution technique to change the chord to Ab7#11.
c. The first two bars of the last line, I first used II-V relation (Dm7/G to G7)
chord however the sound was more like F7sus; since the chord tone of Dm7/G
was the same as G7sus, I changed it to G7sus. As a bass player I didn’t want
to play the same root, so I replaced G7 to Db7 in the second bar.


 

20
 

Rhythm: In the introduction of the Shanghai’s Night, I used a shaker. Besides
this, Cajon and Conga were accompanying through the whole song to give it a
more like Latin Funk sound.

4.2.2. Arrangements：
Except for the importance of the harmony groove, another important thing for

 

21
 

this song is the new arrangement.
•

In Part A, I choose funk style to be the straight 16-note groove in this
song.

•

In Part B, I use a swing feel and more syncopation for the melody to
contrast it with Part A

4.3. Longing, Hopeless
Recorded> March 7th,
from 8 to 11 PM.
My band partners：
Piano: Yu Lu
Haojun Qi: Voice
MTI: Austin Han

Lyric Translation
Little carps find their companions in the waters.

Little larks gather with their peers in the sky.

Spring water flows into the autumn streams.

Spring earth turns into autumn muds.

Some are to be destined to be close to each other when they
are born the same, while being isolated until their heart knows.

His shoes got wet before the sky was crying.
Her shoes got wet before the sky was crying.


 

22
 

I almost forget the reason why I miss you so much
But it becomes solicitude.

I almost forget what I want to tell you
But it turns into an expectation.

I almost forget what I was praying throughout the night without
any words.
But it changes into hope.

Even I forget everything about you,
That song still appears in my mind.

Red colors are blooming in the flowers.
The country songs are sounding near your ear.
The East Wind is swinging around the west
South hedge is facing the north.

What a man sows, so does he reap?
As a man loves, he doesn’t stop.

It is dark outside, but you cannot fall asleep.
You cannot fall asleep before the daylight.

I travelled a lot during my university time. One day I met a writer in a small
mountain during my trip. We talked a lot and wrote some poems together. One
morning after I had bid my farewells to her, a melody suddenly came into my
mind. I wrote the song at once.


 

23
 

Longing, Hopeless
Haojun Qi

Intro

2
& 4 œœ

Am

œœ
œ

?2
4 ˙

A

%

Am

Am

&œ

17

œ
œ

œ

Am

&œ

œ

œ
A m6

œ

œ

# ˙˙
˙

˙˙˙

˙

˙

œ
œ

F

œ
œ

œ

œ

G/B

œ

œ
Am

œ

œ

œ œ

˙˙
˙
˙

Am

#œ

œ

œ.

œ #œ

D

œ
œ

Am

D

œ

œ

œ

E m7

˙˙
˙

œ

˙

˙

# ˙˙˙

E m7

&œ œ œ œ

25

A m6

F

&œ

21

# ˙˙˙

˙

&œ

13

Am

A m6

œœ
œ

& œœ
?

D

˙

Am

5

A m6

œ
D/F #

œ

œ.

œ œ #œ œ
œ.

œ

œ #œ
œ.

E m7

œ œ œ

F

œ

D

œ

œ

œ
œ

œ

œ

œ

Am

œ
Am

œ

œ œ œ

œ
Œ

‰ œ œ

Copyright @ 2013


 

œ

Am

#œ
œ

œ

24
 

2
B

Longing, Hopeless
A m6

& œ.

œ œ

Am

& œ.

34

42

#œ.

F

œ œ

#œ.

Dm

F

& œ.

œ œ

F

& œ.

51

œ œ

F

& œ.

55

59

œ œ

Dm

& œ.

œ œ

 

œ œ

Am

& œ. œ œ
œ

C

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4.3.1 Melody & Harmony:
We can see the scale is the Dorian scale. In China we name it “商” seventh
pentatonic scale, which is the family member of Chinese pentatonic scale. Its
Pian tone is in the second and sixth degree. I used this scale to compose the
song.

Melody: I also use4 bars motive development pattern to compose this song.

4.4. People in another land
Recorded: from April 7th, 11 p.m. to
April 8th, 5 p.m.
My band partners：
Piano: Djudju Hartono
Bass: Haojun Qi
Pecussion: Sergio Martinez Diaz
Drum: Andre Walker
MTI: Yohahn Jo

Lyric Translation
(There is a man who is holding a photo and asking everyone passing by)
Hey dear friend, where are you from?

Do you know her? Have you ever been touched by her beauty?
A hundred years ago, she took my heart and entrust it to the cloud.

 

29
 

The cloud changes into the rain, and moistens my hometown.

(No one knows about her and feel sorry for the man, he turn to ask all the
animals passing by)

Hey, wild goose, you fly from north to south,

Could you please send my love to her?

Tell her no matter at the moment of sunrise or sun set,

There is someone waiting for her news.

I use my most moveable sound to wait for you till the end.

4.4.1 Melody and Harmony:
Rhythm: The idea for the percussion part arrangement was the following
concept: Polyrhythm of ¾ in the melody over 6/4 in the percussion.
Percussion rhythm name: solea por bulerias (flamenco rhythm from the north
of Spain of Andalucia)
Melody and harmony go in ¾
Pecussion goes in 2 measures (bars) of 6/4 as 1 cycle


 

30
 

5. Aim of the project:
My target is to market those people who are in a low mood.
When we feel sad, depressed or heartbroken, we would love to leave for a
while. To run away and find someplace where could make us in a peace.
However we have no time to go to the forest, mountain, and grassland to take
a breath.
All these songs were written during my trip.
I hope to take the listener to see shallow rivers, where melodious birds sing
madrigals in their falls, after hearing this music.
I wish my music could bring the power from nature to heal their feelings and
inner wounds.
I intend to promote it through social media: Weibo, micro blogging in China5
This is a social website that Chinese people use it everyday and according to
Nielsen research, Weibo is the most valuable social media site for resonating
and engaging with a potential online audience.


 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
5
 

"Special: Micro blog's macro impact". Michelle and Uking (China Daily). 2 March 2011. Retrieved 26
October 2011.
 


 

31
 

It had around 505 million users in 2013 and Weibo is growing fast. Weibo's
innovation with images has helped it forge a symbiotic relationship with other
online giants like Youku - China's equivalent of YouTube - capturing the
imagination of a tech-savvy young generation keen to posting videos, both as
citizen journalists as well as to show off their talents online.
I also intend to use Youku. Youku permits users to upload videos regardless of
length.


 

32
 

This is my personal website in Youku.

Other ways of promotion:
Personal Website
•

Make it a destination by keeping it updated and including news,
giveaways, polls and things to make it worth visiting.

•

Put the promo online in downloadable form for easy access by the
media and fans.

•

Get on both MySpace and Facebook and stay active. Update and
promote them.

•

 

Enhance the value of press releases by always attaching a photo or
33
 

graphic file or a link to one.
•

Send announcements to the mainstream press but include bloggers,
Internet radio, record stores, colleges and even large offices.

5.1. Promotion in a cultural way:
Trying to shoot the song into a microfilm or maybe just a video would be one of
my main goals. Like a rich, sultry film, my songs not only possess a very strong
sense of images, but also of certain circumstances. Sceneries and stories
inspired me while I was travelling, that means there are many people that feel
the same as I did. I can also use those pictures in my songs to get the public
feedback.
Besides this, each of my songs has a love story behind it. Audiences not only
like the voice of a singer; they are interested in the real experience behind the
song. Of course, the music itself is very important, however it is not enough to
make the audience remember the singer. Furthermore, images can bring a
sense of environmental experience that is more impressive than the
stimulation from the music itself.

6. Conclusion:
For me, the most difficult part of this project is the re-harmonization technic. I
know it will be a long-term challenge for me in the future.
I am very happy that I achieve my objective, which was to arrange Chinese
style music with Western contemporary music techniques, not changing the
original feeling of the Chinese songs
I am so lucky to be here; I’ve learnt some new music theory that I never knew
before. This may be the cultural difference between Chinese music and
contemporary music. These ideas I didn’t have before, make me more
interested in this creating a new music style and I really want to put some
innovation in the Chinese music market.
We need this kind of fusion to enrich the traditional listening sense of the

 

34
 

Chinese audience. I want to further investigate in this field, and make better
songs for my audience.


 

35