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Overture: Arrival
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This piece is an opening track of my second album, "Waterloo Suite". It starts like an ordinary classical music with cello, oboe, harp and string orchestra. At 2:53 it changes to prog rock, and at 3:26 it changes again to avant-garde rock style.
Charts
#59 in subgenre today Peak #4
Charts
Peak #13
Author
Taka Aida
Rights
Taka Aida @Studio.Aidata, 1999
Uploaded
September 21, 2023
MP3
MP3 12.4 MB, 320 kbps, 5:25
Meta Data
Key
Minor
Vocals
No vocals, instrumental only
Character
Energy
relaxed, cool
high-energy
Danceable
coffee-place
dancefloor
Positivity
dark, sad, angry
happy
Appeal
unique
radio-friendly
Story behind the song
"Overture: Arrival" is the opening theme of my second album "Waterloo Suite". On September 10 in 1999, I arrived at the Pearson Airport, Toronto, with much of hope and a little of anxiety because this is my first time to visit Canada and to live in a foreign country for a long term. Some anxious atmospheres can be felt in the middle of the piece although I initially intended to fill it by hopeful tunes. The arrangement of the initial part may be influenced by the works of Loreena McKennitt, an elegant musician from Stratford, Canada. In the middle, I took a prog rock style together with contemporary music method where the time signature changes between in 3/4 and in 4/4 alternatingly. The drumming style is made under my impression on that by Bill Bruford, my most respected musician. When I sent a letter with the "Waterloo Suite" CD to Bill, he wrote to me a reply that he liked it, and it made me excited! And then I could continue to complete the composition of the album. All sounds were by acoustic instrument’s sounds. Oboe took the leading part. Cello, harp, drums and string-ensemble were also used. At around 3:27, the atmosphere extremely changes. The oboe plays cacophonic lines, it makes the sound seem to be atonal. I myself think I was influenced by the music of Univers Zero, from Belgium, whose music is very dark and full of cacophonic sounds with strange time signatures.
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