Intermediate
Prologue
3:20
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Browse piano sheets by Kow Otani on Zen Virtual Piano. As a kindergartener, Kow Otani wanted to play the piano at his school so badly, and found it locked, that he asked his mother to let him learn; he recalls this as the first event that connected him to music. He was born to parents who were modern dancers and grew up among music and dance. In high school he heard Stravinsky and Bartók records in his father’s room, met modern music, and that became the start of his path as a composer. He studied classical and contemporary music at Nihon University College of Art and jazz at An School of Music. He played live for around 360 days a year, carrying twenty or more music books and scores, and hoped one day to write for a rock orchestra. A wish to write for a rock orchestra, alongside records of Stravinsky and Bartók, suggests an interest in joining orchestral and band sounds. He says his music is often well received abroad and thinks its roots in Stravinsky and Bartók may be why. A cautious “may be why” keeps a composer’s account of his own audience modest. Otani arranged albums and concerts for Saburo Tokito and Hiroyuki Sanada, and then became independent as a composer and pianist. His soundtracks include all of the Heisei Gamera films, Godzilla, Mothra and King Ghidorah, Mobile Suit Gundam Wing and Konjiki no Gash Bell!!. When the Gamera request came he did not listen to earlier Gamera music or to the music of the Godzilla work released at the same time; for no particular reason he listened to opera, and made something of his own from it. Answering a commission by way of opera shows that a score can start from far outside its subject. His first move into interactive entertainment came in 1995 with the PlayStation shooter Philosoma. He finished the music for Shadow of the Colossus, a Team Ico project, in October 2005, and it received Electronic Gaming Monthly’s Soundtrack of the Year recognition. A soundtrack named Soundtrack of the Year shows that music written to sit inside play can still be judged as music in its own right. He recalls an order for battle music to switch depending on whether the player was ahead or behind, which meant avoiding the modulation and tempo changes he might otherwise have wanted. Music that must hold up beside a player’s changing fortunes is written for use as much as for listening.
Browse piano sheets by Kow Otani on Zen Virtual Piano.
As a kindergartener, Kow Otani wanted to play the piano at his school so badly, and found it locked, that he asked his mother to let him learn; he recalls this as the first event that connected him to music. He was born to parents who were modern dancers and grew up among music and dance.
In high school he heard Stravinsky and Bartók records in his father’s room, met modern music, and that became the start of his path as a composer. He studied classical and contemporary music at Nihon University College of Art and jazz at An School of Music. He played live for around 360 days a year, carrying twenty or more music books and scores, and hoped one day to write for a rock orchestra. A wish to write for a rock orchestra, alongside records of Stravinsky and Bartók, suggests an interest in joining orchestral and band sounds. He says his music is often well received abroad and thinks its roots in Stravinsky and Bartók may be why. A cautious “may be why” keeps a composer’s account of his own audience modest.
Otani arranged albums and concerts for Saburo Tokito and Hiroyuki Sanada, and then became independent as a composer and pianist. His soundtracks include all of the Heisei Gamera films, Godzilla, Mothra and King Ghidorah, Mobile Suit Gundam Wing and Konjiki no Gash Bell!!. When the Gamera request came he did not listen to earlier Gamera music or to the music of the Godzilla work released at the same time; for no particular reason he listened to opera, and made something of his own from it. Answering a commission by way of opera shows that a score can start from far outside its subject.
His first move into interactive entertainment came in 1995 with the PlayStation shooter Philosoma. He finished the music for Shadow of the Colossus, a Team Ico project, in October 2005, and it received Electronic Gaming Monthly’s Soundtrack of the Year recognition. A soundtrack named Soundtrack of the Year shows that music written to sit inside play can still be judged as music in its own right. He recalls an order for battle music to switch depending on whether the player was ahead or behind, which meant avoiding the modulation and tempo changes he might otherwise have wanted. Music that must hold up beside a player’s changing fortunes is written for use as much as for listening.
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As a kindergartener he found the school piano locked and asked his mother to let him learn the piano; he recalls this as the first event connecting him to music.
Among them the Heisei Gamera films, Godzilla, Mothra and King Ghidorah, Mobile Suit Gundam Wing, Konjiki no Gash Bell!! and the game Shadow of the Colossus.
He recalls an order for battle music to switch depending on whether the player was ahead or behind, which meant avoiding the modulation and tempo changes he might otherwise have wanted.