關於 cello position ，我們在網路上蒐集到這些相關的討論、資訊與評價

FLUTE.TING X SOLO.THING
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Astor Piazzolla is the one who established the new tango ‚Nuevo Tango‘, which was challenging the idea of the traditional tango quintet with two bandoneons, two violins, a bass, a cello, a piano and an electric guitar. This Tango Nuevo fused together the worlds of classical music, jazz and tango.
.
When Piazzolla was in Buenos Aires, he got a job as part of the Anibal Troilo orchestra as their bandoneón player, later became their arranger. The extreme popularity of this band in Argentina made his position also very prestigious. The time he played in the Troilo orchestra has been very important:
.
„I learned the tricks of the tangueros, those intuitive tricks that helped me later on. I couldn't define them technically; they are forms of playing, forms of feeling; it's something that comes from inside, spontaneously.“
.
This Tango Etude No.3 for solo flute has the form of ternary A-Quote-B-A in which the theme of the quote was taken from the Chilean composer Sergio Ortega’s popular song El pueblo unido jamás sera vencido (“The People United Will Never Be Defeated”).
.
I hope you enjoy this kind of ‘spicy’ music in terms of variety of articulation and accent with extrem dynamics and percussive rhythms within its high quality of singing and dancing. #tingflute
.
#piazzolla
#tangoetudes
#homeoffice
#homerecording
#yellowsofa
.
Learning by Doing with
@onsentarou
.

長笛廷 X 獨奏廳
.
阿斯特·皮亞佐拉（Astor Piazzolla）是“新探戈”的創始者，該新探戈挑戰著傳統的探戈五重奏組的想法，並將古典音樂，爵士樂和探戈音樂融合在一起。
.
皮亞佐拉（Piazzolla）在布宜諾斯艾利斯（Buenos Aires）時，他曾是Anibal Troilo樂團的一員，後來成為該團的編曲者。 這支樂隊在阿根廷的極高知名度也讓他享有很高的聲譽。 他在Troilo樂團演奏的期間對他創作非常重要：

“我學了探戈的技巧，這些直覺的技巧後來對我有所幫助。 我無法從技術上定義它們； 它們是遊戲的形式，感覺的形式； 它是自發地從內心產生的。”
·
這首長笛獨奏的探戈第三號練習曲具有三元A-Quote-B-A的形式，其中Quote 主題引用自智利作曲家塞爾吉奧·奧爾特加（Sergio Ortega）的流行歌曲El pueblo unido jamás sera vencido（“團結一心終將勝利”）。
.
希望你們能在極度動感、高節奏感的舞曲中，帶著多變的重音及語法，從而欣賞這種對我來說非常“辣”的音樂。 #tingflute
·
#在家上班
#在家錄音
#探戈跳起來
#獨奏
#歡迎按讚留言分享
#黃沙發
和朋友Yamato Moritake學習錄音💁🏻‍♂️

Hello. I am KIVΛ.

Over the past 3 years, I have been working under Rayark Inc. on the rhythm game title 《Cytus II》 as Sound Director, as well as music and sound effects production, together with story design and a portion of motion design. In June last year, I found myself going into different paths with the company, so I left the position as regular staff member, but continued to work with the remainder of the project until version 3.0, where the story finally reaches the finale, so did my journey and objectives for this game development journey. Having this opportunity, I would like to share some of my thoughts regarding this epilogue.

Since I joined this project, the focus of design has always been the joint experience of story and music. With the story reaching the end, I would like to potrait the overall ambient to be more film-like, which players might experience the tension of the climax through music. Having such thoughts, I was determined to unify the music genre in 3.0 as film-score like, blending in motifs from song lineup of each and every game character. I am totally aware that level design for symphonic music is difficult, especially in emphasizing the groove like how it was usually done in electronic music. I want to thank all level designers for their hard work in overcoming such challenges.

The epic vibe from combining contemporary electronic and symphonic music is something that I always wanted to attempt for, and in my previous works there has been appearance of such sound elements, but by using only virtual instruments it might just not reaching my expected result. I want to thank Rayark for being so generous to provide all the support, making the symphonic recording come true.

Having such opportunity, I went for two of my friends who I have never work together with: Shao-ting Sun, a recording engineer in Carnegie NYC; Chamber Chu, a symphonic music producer. They have been my game peers for quite a while, but I have always been admiring their aesthetics and abilities in sound design, and these two grandmasters have definitely outperformed themselves. I spent a whole week staying with Chamber for the arrangement of symphonic parts, which was a very precious experience in music creation. The recording team that Sun brought together, as well as the professional performers that participated in the recording session, is by no doubt astonishing. Recalling that we rushed for the full score of all the pieces until the very morning of the recording session (our sincere apologies), but it took no more than 5 takes for all sections to get the desired outcome. Absolutely fascinataing.

It is also worth mentioning that the entire team of roughly 60 were all Taiwanese. I guess we might have made another achievement in the history of Taiwanese game music production. I am so honoured to have the opportunity in leading such a groundbreaking project, together with all the grandmasters.

3 years isn't that long, but it is more than one out of ten for my life. There were other creation experience that were fun but painful, and many achievements were unlocked when I worked in this company. Standing on the stage in front of the screaming crowd, working with Japanese voice actors that I admired for so long, having so many supporters of my work, all these could never be possible without Rayark. Even I left the company going for different paths, I still wish for the very best of this company to become a even better one.

It is a pity that I can no longer work together with the fantastic members of Team Cytus. Perhaps they are fed up with my twisted personality and being stubborn for what I wanted to create. I would like to thank you all for your understanding and forgiveness. Each of you have the profession and passion, and I found myself so tiny and unintellegent working with all of you, and I have learned a lot over the years. I wish all of you could push the creative industry in Taiwan even further forward. I am returning as a mere artist, working hard on what I could. No matter how harsh life is, I am still working on it, as this is the only thing I am capable to do.

Last but not least, I would like to thank all of you players that have supported this game. Without you, this could never happen. No matter to me, to the Team and to the players, 《Cytus II》 might not be the perfect piece of game, we might have different imaginations on the enormous world settings, characters or even the game design itself. What in common was we spent 3 years to experience the creation and playing process. It is the story and music that linked us together. I believe this is the charisma of the game. I wish you are all loving this game, loving the characters, and loving the time that we created together.

There are so many more to thank, to apologize, the satisfaction and sorrows, and they are all included in this ending music. It is time for me to step down.

Thank you, and goodbye.

FLUTE.TING X SOLO.THING
.
Astor Piazzolla is the one who established the new tango ‚Nuevo Tango‘, which was challenging the idea of the traditional tango quintet with two bandoneons, two violins, a bass, a cello, a piano and an electric guitar. This Tango Nuevo fused together the worlds of classical music, jazz and tango.
.
When Piazzolla was in Buenos Aires, he got a job as part of the Anibal Troilo orchestra as their bandoneón player, later became their arranger. The extreme popularity of this band in Argentina made his position also very prestigious. The time he played in the Troilo orchestra has been very important:
.
„I learned the tricks of the tangueros, those intuitive tricks that helped me later on. I couldn't define them technically; they are forms of playing, forms of feeling; it's something that comes from inside, spontaneously.“
.
This Tango Etude No.3 for solo flute has the form of ternary A-Quote-B-A in which the theme of the quote was taken from the Chilean composer Sergio Ortega’s popular song El pueblo unido jamás sera vencido (“The People United Will Never Be Defeated”).
.
I hope you enjoy this kind of ‘spicy’ music in terms of variety of articulation and accent with extrem dynamics and percussive rhythms within its high quality of singing and dancing. #tingflute
.
#piazzolla
#tangoetude
#homeoffice
#homerecordin
.
Learning by Doing with
@Yamato Moritake
.

長笛廷 X 獨奏廳
.
阿斯特·皮亞佐拉（Astor Piazzolla）是“新探戈”的創始者，該新探戈挑戰著傳統的探戈五重奏組的想法，並將古典音樂，爵士樂和探戈音樂融合在一起。
.
皮亞佐拉（Piazzolla）在布宜諾斯艾利斯（Buenos Aires）時，他曾是Anibal Troilo樂團的一員，後來成為該團的編曲者。 這支樂隊在阿根廷的極高知名度也讓他享有很高的聲譽。 他在Troilo樂團演奏的期間對他創作非常重要：

“我學了探戈的技巧，這些直覺的技巧後來對我有所幫助。 我無法從技術上定義它們； 它們是遊戲的形式，感覺的形式； 它是自發地從內心產生的。”
·
這首長笛獨奏的探戈第三號練習曲具有三元A-Quote-B-A的形式，其中Quote 主題引用自智利作曲家塞爾吉奧·奧爾特加（Sergio Ortega）的流行歌曲El pueblo unido jamás sera vencido（“團結一心終將勝利”）。
.
希望你們能在極度動感、高節奏感的舞曲中，帶著多變的重音及語法，從而欣賞這種對我來說非常“辣”的音樂。 #tingflute
·
#在家上班
#在家錄音
#探戈跳起來
#獨奏
#歡迎按讚留言分享

MATERIALS
・Clear file 1 sheet
・Cutters
・a cutter mat
・Clear tape
・Cello tape
・Masking tape
・A scissor

STEPS
《Creative book cover 》
1. Cut off part of bottom of a clear file by a cutter
2. Open up the file then place a book on it. Position the book to fit with the file then stop by applying tape on
3. Apply cut on both side of book pages to make fold lines
4. Apply masking tape on the file
5. Fold the file in the book to finish

《Cosmetic blush head cap》
1. Cut a file into a long square
2. Start rolling from one side to another, make it look like a piping nozzle
3. Trim the rolled cap properly with a scissor to fit your brush head

《Stylish masking tapes collection sheet 》
1. Apply multiple stylish masking tapes on a clear file
2. Trim the file into a portable size which can fit in a note book
3. Use the tapes anywhere!

【用意するもの】
・クリアファイル１枚
・カッター
・カッターマット
・セロハンテープ
・マスキングテープ
・ハサミ

【作り方】
ブックカバー
①クリアファイルの下の部分をカッターで切る
②開いたクリアファイルに、本のカバーを合わせセロハンテープで固定する。
③本のカバーの両端にカッターで折り目をつける
③マスキングテープを貼る
④両端を折り込めば
完成♪

メイクブラシカバー
①クリアファイルを適当な大きさに切る
②下の部分が小さくなるように丸め、マスキングテープで固定していく
③余分な部分をハサミでカットして
完成♪

マスキングテープ台帳
①クリアファイルにマスキングテープを貼っていく
②余分な部分をカッターでカットしていく
③お好みの場所に貼る
完成♪