Episode 14 - Yukiko Nishimura
Episode 14 features Yukiko Nishimura, a pianist, composer, and arranger from Japan and now living in Los Angeles. We talk with Yukiko about her life, composing career, and the current projects she is working on!
To learn more about Yukiko and the organizations and resources she recommended, check out the links below!
Yukiko Nishimura - Website
Yukiko Nishimura - Facebook
Yukiko Nishimura - Youtube
The Society of Composers and Lyricists
The American Society of Music Arrangers and Composers
Alliance for Women Film Composers
Academy of Scoring Arts
Full Transcript
Carrie Blosser 0:01
Welcome to Diversify the Stand: the resource centered around listening, learning and promoting diverse musical voices in music, through our podcast, website, commissioning projects and more. I'm Carrie Blosser.
Ashley Killam 0:15
And I'm Ashley Killam. Join us on our journey as we speak with composers, creators, performers, historians and music educators about the topics important to them, and musics betterment.
We're so excited to talk with Yukiko Nishimura today. Yukiko is a pianist, composer and arranger from Japan, and she now lives in Los Angeles. She studied with Alfred Reed and Richard Daniel Poor while in school and has written a mix of piano, percussion, chamber music, band works, string, and orchestra and World Music pieces. Yukiko is the sweetest human being ever. We are so excited, and hope you enjoy our talk with her today. So welcome, Yukiko.
Yukiko Nishimura 1:07
Hi, hello. Thank you for having me.
Carrie Blosser 1:12
Thank you so much for joining us. We wanted to ask you how you got started in music.
Yukiko Nishimura 1:16
I started learning music at Yamaha music school for kids when I was four years old. They have some classes like dictation by ears, singing, sight reading, and ensemble using electronic keyboard and also an acoustic piano listed individually. So that was my first experience.
Ashley Killam 1:43
And when did you start composing, and writing for different ensembles?
Yukiko Nishimura 1:49
Actually at Yamaha at that age, you know, I learned composition in a very natural way. I didn't even notice that I was taught how to compose, it's very natural. At the time, composing is like, just a fun thing for kids. So learning some very simple music theory, like how the music is structured. In other words, studying the musical form, simple form and some very simple harmony progressions. Even though we were like six or seven years old, it was fun.
Carrie Blosser 2:34
As you were composing and performing, were there certain styles, or music that influenced your compositions?
Yukiko Nishimura 2:45
I always think about that, you know, I have many of it. First of all, I love music by French composers. I love the harmonies. So I studied French style of harmonic progressions very, very hard when I was in college. I love Ravel's music, Debussy, Poulenc, Frank, and Faure and many others. But after that, I was crazy about modern jazz. Because of trumpet, I think. And I hope I often use that kind of, you know, harmonies and rhythms pretty much I wanted to. So even now I still use it for it. Make something cool or groovy sound, yeah.
Ashley Killam 3:42
I know, when I first started listening, when I first heard one of your -I think it was a band work- on how I found you. When I first heard that all I could think was Alfred Reed. And then when I looked into your name, I was like, oh, that makes complete sense since you studied with him. And you know, that influence. And when I talk with people who have played his music and have learned about him, and who really enjoy Reed’s music, I'm like, hey, check out Yukiko because her stuff is just so good and so accessible for student ensembles, and has that same sort of feel and that same sort of, um, I don't know, you can just hear that influence from him. At least from a performance standpoint.
Yukiko Nishimura 4:32
Yeah, this is very interesting, because Dr. Reed didn't teach me how to compose you know, but I studied his score a lot. And I don't think I am influenced by his music, but you know, maybe he taught me how the music sounds better. You know, that's the point, you know, it's very important to compose something new. That's why my music, not sounds like but you know, sound like his music world. Yeah, thank you.
Ashley Killam 5:22
Carrie and I recently saw -it was shared on Facebook- this new sound innovation project. I was wondering if you could talk a little bit about this project that you're a part of.
Yukiko Nishimura 5:33
Okay, Sound Innovation Solo Series has launched by publisher Alfred music. Composers write one main melody, and the melody has piano accompaniment, this main melody reflects all kinds of band instruments, even tuba can play that melody, we fixed the ranges or some registers for a lower instrument if it's needed, to make it easier. And also, we write two or three exercises although it is a solo piece. So I think it's a really valuable study kit for all kinds of, you know, learner, or even teachers. This is simply how the project is going on. There are more than 30 composers involved in this project. There are three kinds of solo series: solo for band instruments, solo for strings, and solo for percussion. I wrote some of it for band instruments and strings. And the music will be 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 this melody, writing the solo that every instrument’s going to play, what instrument do you start with? What do you choose first? Or I guess, what do you, how do you think about that when the solo will be for every instrument?
Yukiko Nishimura 7:16
Yeah, that's good. Good point, you know, I don't want to go beyond the range, you know. So I don't use- I’d rather use a narrow range. But yeah, you cannot change the key. That's the point. That's why, you know, if it go up, go up higher, for lower strings, I can just go lower, octave down from the melody. So I fixed that to be, you know, played easier for that instrument. But I think it's easy to come up with the idea like, you know, using flute or clarinet, because they have a very wide range. Yeah, that's why it's easy to compose.
Carrie Blosser 8:24
I think especially with younger brass players, trumpet and French horn and trombone and tuba, I think range is always the hardest thing for younger players. So it's always the most, they're kind of a little bit of a limiting factor, is how high or low they can play.
Yukiko Nishimura 8:42
Right. And also Alfred music suggested us to use like, so this is asked to compose for grade three or four. So you can go, you know, you cannot go very high or very lower. So it's good. Like intermediate level.
Carrie Blosser 9:06
When you're asked to write music for grade one and grade two and three, four, did they give you kind of a set, like range and key for the instruments you're working?
Yukiko Nishimura 9:18
Yeah, they have ranges. And also maybe for grade one, you can just use the white note. Like no 16th notes.
Carrie Blosser 9:36
I did want to ask you, when you're asked to write a new piece of music, how do you start?
Yukiko Nishimura 9:46
You mean when I got a commission or something, that opportunity, right? Yeah, they give some idea or maybe they have specific, you know, the form of music or something like that they think about, I don't know. But most of the time, I can compose very freely. I can just ask them how the grade is. Or maybe what is the occasion for that, you know. And to compose, maybe you want to hear how I can start, I mean, how I can write the first notes on the, on a music paper, right. Okay, I can say that I just wait. Yeah, the notes come from somewhere. I just sit in front of the piano, my piano and just wait. Or maybe, you know, I, the first time I have to think about the title. That's the most important thing to me. And then I am thinking about, you know, after that, I think about the color of the music. Maybe this is related to what key it's going to be. Yeah. Yes. It's just it's so blurry type of, you know, time for me. It's, yeah, but it's the hardest one, I think. And after you know, you, I decided, oh, this is good, so I can continue further. So I can arrange the themes or a fragment of the music, I can just arrange that. I mean, arrange is not the word. Okay, straight from that theme, or different elements or of harmony. So it's so difficult, you know.
Carrie Blosser 12:28
It's so interesting. I love it, I love it. I love hearing about how you create, I think that's wonderful.
Yukiko Nishimura 12:36
Yeah, I just yeah, I have to just wait for that. To find something that makes sense.
Carrie Blosser 12:49
And I was interested- I know you and Ashley had talked about you had written a piece for trumpet and piano. Before we commissioned you to write another one.
Yukiko Nishimura 13:01
Only one? Yeah.
Carrie Blosser 13:02
Only one, so we will be number two.
Yukiko Nishimura 13:05
Yeah, I think so.
Carrie Blosser 13:08
I was wondering if you would talk a little bit about that piece, your first trumpet and piano.
Yukiko Nishimura 13:16
That was a assignment when I was in college, the very first year. We had to write something for duo piece. So I chose trumpet and a piano. Because I was so obsessed to hear Miles Davis at the time. So I was crazy about it. You know, so I used some jazz-influenced harmonies. Yeah. And it was consist of four movement. Yeah, it takes like, seven or eight minutes. You know, at the time, there's no computer. So I have only the hand writing score, to have to, yeah, find it and get it.
Ashley Killam 14:29
We were also wondering, I mean, if some of your first projects were more like chamber ensemble based, how did you get started in writing for band or orchestra? And did you write for one first and then get into the other? Because I know, I mean, I've seen and researched all of the pieces that you have for both kind of like early, middle, and more 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 compose for publishing. So, there is no- there is a deadline but I can, you know, submit them anything I want. So, maybe this year, I cannot write for band it’s okay. If you have two or three, you can just submit it. But commissioning pieces, you know, it's not so many you know, so, 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 comes. So you know what I mean?
Ashley Killam 16:10
Yeah, do you think for you and just for your writing, do you find it easier to write for orchestra or for band more? Because they’re completely different in the just like, the orchestration you have to do.
Yukiko Nishimura 16:30
Basically, it's the same, but I would say I prefer string orchestra more, because I used to learn violin. So I know what the orchestration is good for that instrument. But you know, for band music, you know, they're more staves so it's hard to orchestration. I don't even think about it's different. The competition is competition. Yeah.
Carrie Blosser 17:25
Like different ice cream flavors, like one is chocolate and one is vanilla. And they both are great.
Yukiko Nishimura 17:31
Yeah. And even two scoop or three scoops. It's okay. Yeah.
Carrie Blosser 17:38
But we wanted to ask if there are any resources or things that you found helpful, as you've grown your career for other composers, or pianists?
Yukiko Nishimura 17:51
My piano teacher when I was a student at Manhattan School of Music, her name is Sarah Davis Buechner. She is, she was one of the finalists, I mean, medalists, in Tchaikovsky competition. She's very good. And she, you know, commissioned piano work to me, and she, you know, play that piece all over the world. So I think she has a website, so you can just introduce her website. And also I have been managing some social network pages, so I have my own YouTube channel. That's a very small one. You can just search my name, and also I have a Facebook artist page, and I sometimes upload some music videos or share the latest news there.
Carrie Blosser 19:33
And were there any other projects that you are working on currently? I know we talked about the the solo Sound Innovation project, but is there anything else that you're working on?
Yukiko Nishimura 19:47
Yes. I have been involved with a theatrical project. Yeah. Which is going to be performed next month. So I’ve been so so so busy. I sleep only two hours a day like, you know, but I’m almost finished so it's okay. Yay. Yes, I was planning to go back to Japan, but it's not the time. It's not the right time. So I stay here and participate in the rehearsal online. But do you know the reason why I came to the states?
Carrie Blosser 20:38
No, I don't.
Yukiko Nishimura 20:40
Yeah, maybe you don't know. Because I want to be a part of, you know, some film or TV industry. That's why I have to be here, you know. So that's why I am here and living in the states that is, was, my dream. So one of my dream came true. So I am just standing at the start line so, I think, you know, wish me luck!
Carrie Blosser 21:25
We wholeheartedly wish Yukiko, all the best. We wanted to also share with you a compilation of a few of her pieces. Harvest Moon for orchestra, The Back Room for band, Quiet Beach for piano, Lavande for String Orchestra, and Starship for band.
And you might have already answered this, Yukiko, but we are going to ask you what is on your music stand this week?
Yukiko Nishimura 26:54
This week. I have always some music paper on the stand. And also, I have a book of Instrumentation and Orchestration by Alfred Blatter. You know that book?
Carrie Blosser 27:16
I think, maybe.
Yukiko Nishimura 27:19
It's really good book. I always have it in my hand when I compose. Just makes sure you know that ranges or, yeah.
Carrie Blosser 27:33
Are there any piano pieces that you're working on for yourself right now?
Yukiko Nishimura 27:40
I always play back. This is like the exercise for my brain. And also my fingers. Yeah, yeah, Bach’s music settle on my feelings in a evenly so I need that like vitamins.
Carrie Blosser 28:09
For more information about Yukiko, her works, and where to find her music, her website, and all of her links are in the podcast description, and also on our website.
Ashley Killam 28:24
Thank you so much for listening to Diversify the Stand. I am Ashley.
Carrie Blosser 28:28
And I'm Carrie. If you'd like to support us and our projects, check out our Patreon, www.patreon.com/diversify_the_stand. Also the link is in our podcast description.
Ashley Killam 28:44
And a huge thank you to Trevor Weston and Whitney George for allowing us to use their compositions in our podcast. The musical introduction is Trevor's trumpet duet Fanfare for Changes, and the ending music is Whitney's Incantations for trumpet and piano. Both composers’ websites are also listed in the description.
Carrie Blosser 29:02
Until next time, what's on your stand?