Though also a stringed instrument, it’s distinct in its timbre and tonality. He expresses, for example, the enjoyment he finds when using the violin. Tsutsumi recalls how initially he was applying rock techniques to other instruments, but quickly began to nurture his sense of other instruments as individual entities. “You have to get to grips with how different instruments are tuned, and the ways in which phrasing differs according to the instrument,” he says, describing this as being “a steep, but rewarding, learning curve.” Tsutsumi speaks about his experience composing for other instruments, explaining how this was very much something he learned “on the job.” It’s a lilting melody that adeptly reflects its eponymous subject. In the Tokyo Revengers soundtrack, for instance, “Hinata’s Theme” is written primarily for violin and piano. “When I find a piece of music I like,” he explains, “I like to create orchestral samples that I can incorporate into my own work.”Īn expansion and interest beyond guitar-based compositions is evidenced throughout Tsutsumi’s body of work. When I ask him what composers and styles he’s found particularly inspiring, he mentions Ravel’s piano compositions, Bach’s writing for the organ, and other orchestral pieces. Although he’s never had the opportunity to study classical music formally, about which he admits a slight personal complex, Tsutsumi articulates his recent joy in delving more concertedly into the classical world. “Recently, though, I’ve been getting more and more interested in classical music,” he says. Tsutsumi started his career as a guitarist, and confesses that his guitar collection, which has been growing since his junior high days, is now up to 30. Together, the pair have worked on a number of successful projects, including Hyperdimension Neptunia: The Animation (2013) and Seven Mortal Sins (2017). Tsutsumi speaks fondly of their working relationship, describing Yokoyama’s ability to introduce “something new in every song,” as something he particularly admires in his friend, as well as Yokoyama’s relentless motivation. It was a decision that set him on his path today. During his time at university, he was encouraged to begin composing by friend and future collaborator Masaru Yokohama. It was this acknowledgment of his talent that gave him the confidence to study music full-time at the Kunitachi College of Music. “That style of music is certainly ingrained in me,” he laughs.Īfter first picking up a guitar at age 14, Tsutsumi went on to win a guitar competition sponsored by Guitar Magazine only three years later. There’s an audible sonic overlap between his own compositions and this style of 1980s Japanese rock, a fact that Tsutsumi himself acknowledges. You can still hear echoes of this musical era in his work today. Japanese rock bands such as Glay (stylized in all caps), Luna Sea and X Japan were all the rage, and it was as a result of his interest in this kind of music that Tsutsumi first uncovered not only his natural capacity as a guitarist, but moreover his desire to become a musician. Roots in Rock Not Just a Guitarist A Battle With Battle Scenes A Note to Future Composers More Info Related Posts Roots in Rockĭuring his teenage years, Tsutsumi recalls the rampant popularity of guitar-led music, particularly among his friends at his junior high school baseball club.
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