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Xsirh Hkirmtvi Yvxlnvh Nb Yilgsvi
Svmib Yobgs Yvxlnvh Nb Yilgsvi
Qzxp Ovnlmorzn Yvxlnvh Nb Yilgsvi
Archaeological Discovery in Oxfordshire
Qliwzm Irxsvb Yvxlnvh Nb Yilgsvi
Fire Alarm in the Midnight
Jockey Lacrosse of Parmaxwealthy Buckeye
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Evening Reflection
Exumantasiphosts
D-Day of A Greenhouse Botanist
My Brother From Salt Lake City
Reveal of Hidden Core (Duet)
Battlefront of Continental Soil (Duet)
A Girl to be Remembered
Rzm Kzouivbnzm Yvxlnvh Nb Yilgsvi
Gzmmvi Tizb Yvxlnvh Nb Yilgsvi
Ultimate Reunion
Misunderstands Between Bishop and Realtor
Unsolved Tensions Between Two Parties
Favorite Pillows and Blankets
Family Revolution
Zmwivd Ozkizb Yvxlnvh Nb Yilgsvi
Last Enrichment
A Grandson of Presiding Bishop
Presidential Secretary Becomes First Lady
Smoka Da Sheiba's Little Sister
Testimony and Trial (Duet)
Grandpa's Nap Before Chrismas Eve
Kzipvi Ormwjfrhg Yvxlnvh Nb Yilgsvi
Nightmare Fantasy of A Professor
Banana Skin on the Walkway
Congress Verses President
My Biography
Tucker Kao started touching keyboards and other music instruments since he was six years old. During his fifteenth year, he began the intense piano technique learning on Beethoven performance pieces such as Moonlight and Waldstein Sonata which introduced him to the basic fingerings of the fast playing melodies. He generally practiced at least four hours, sometime six hours on the piano per day. Since then, his knowledge of the classical age music were largely expanded.
Unfortunately, Tucker hurt both of his arm muscles during his sophomore year of high school. After this incident, he shifted his main interests into the compositions and arrangements of both classical and modern music. He was soon introduced to some famous movies such as Star Wars and Spider Man by his neighbors which Tucker understood the importance of the dynamics and magnificence while synthesizing music from different rhythms and instruments even from just the piano itself. With the frequent switches between the diamond formatted notation structure, Tucker spreaded the notes and chords all over the piano keyboards, thus created the solid densities requiring for all the velocity layers through the re-synthesis processes while the acoustic feels being expressed.
Tucker has also played hymns for several of the meetings and choir performances in his church. He arranged several songs for multiple choir directors who organized groups with soprano, alto and accompaniment. Tucker tried to switch some of the harmony lines from the accompaniment and alto with the soprano melodies to enhance the overall sound effect and to expand the basses by using the leading octaves as well as to add the decorative thrills into the treble ranges. Harmony minors with transcendental diminish and augmented chords established the base theme of Tucker's music. The progressions of the running sixteenth notes played the important roles while building up the enthusiasm from the embedded bass powers. His "Yvxlnvh Nb Yilgsvi" collection of piano compositions always emphasized the strong passions irritated from the peer pressures and the eagerness of finding the settlements after some intensive collusions impacted between the different parties. The dual melody curving methods were used to generate the patriotic ego from the inter-flip-and-flop skills that were operated between the left and the right hands for the accompaniments.
Tucker who has finished three years of his university studying is twenty-two years old today in year 2006. He continued to composing performance piano pieces based on the styles of three musicians, Chopin, Liszt and Rachmaninoff, from the romantic and later eras. Tucker has a wish to get a Bosendorfer Grand Piano Model 275 which was manufactured using high quality woods in Vienna, Austria someday during his lifetime. His top favorite piano selections include Beethoven's Appassionata, Chopin's Impromptu Fantasie, Etude Revolutionaire, Polanaise Heroique, Scherzos in B Flat Minor, Liszt's Feux Follets and Rachmaninoff's Prelude in C Sharp Minor.
Tucker has a popularity aspiration which he looks forward upon recognizing musicians from variety of genres. To define music, it consists not only the combinations of chords, rhythms and expressions. However, it is a language that speaks multi-dimensionally both physically and mentally with hidden meanings. With the keyboard theory of mirror imaging, Tucker transposed major chords into their correspondent minor by browsing through the shiny surfaces of his piano. The storylines and characters always played the first priority in his music. With the prescribed themes, Tucker then translated the meanings and thoughts from readable literal phrases into digital music notations. Major upward surges and big crash downs often occurred at the middle sections and at the very end of his compositions with perfect closing octaves in grand finales.