3. The Composition Process

This section will provide an overview of the whole composition process from the initial sketches, to completion. The stages of this process are closely linked to the objectives outlined in section 1.2.

After the background research stage, the findings provided the inspiration for some basic musical ideas. These sketches were composed on the piano, and the ideas were written partially in music notation and partially as descriptive text. Every section of the piece started with a Japanese theory. Musical material that adhered to these theories was then created, before being developed in to more complete ideas. There are many approaches to the composition of a concert work (writing purely from theoretical knowledge, or using computer software for example), but instinctive writing at the piano was the primary method used at this stage. There are reasons (guided by Western music theory) for the existence of each note and chord, but the initial ideas stage was largely concerned with experimentation, exploration of the Japanese scales and modes, and following the natural flow of the newly discovered musical ideas. As a result, the sketches consisted of more material than was actually desired for the final composition, so the ideas needed significant refinement.

This refinement stage started with structural improvement of the sketches, which in turn led to significant harmonic changes, as sections in different keys were reordered or removed. In addition, the initial sketches did not have much rhythmic content; they were largely a harmonic and melodic framework. Therefore, the refined sketches saw the inclusion of fully notated rhythms, many of which were based on the Japanese theories. These sketches were notated on to a piano staff in Sibelius, so that the music could be orchestrated outwards from this framework.

When orchestrating the sketches, each section was completed before moving on the next. The parts piano and the string section parts were usually written first, in order to build solid harmonic and structural foundations. Melodic lines were distributed amongst the other instruments, playing on their particular strengths. For example, the lightness of the flute is excellent for lyrical themes, while trombones and horns in unison are well suited to powerful and triumphant melodies. Later in the orchestration process, many of the lines in the piano and string section parts were given to other instruments, and the capabilities of the orchestra were fully exploited in order to produce a variety of moods and textures (see section 6.1).

The decision to include a piano soloist is twofold. It firstly adds a degree of virtuosity to the composition, and it gives the opportunity for interplay between the soloist and the orchestra. The contrast in tone colour with the orchestral instruments makes the piano an ideal candidate for this role. The piano is secondly capable of imitating the types of playing techniques found on the Japanese koto. For example, the use of rapid arpeggios, and playing different melodies or melodic variations simultaneously (see section 6.2).

With the orchestration partially complete, the composition underwent continued revision and improvement. This revision process concerned two main areas: compositional improvement, and technical improvement from a player perspective. The key processes involved with these refinement stages are outlined in figure 2.

Much of the refinement was achieved through discussion with tutors and studying books on orchestration. These details, although small, make a vast difference to the overall composition. Although there is no current provision for a performance of this piece, every effort has been made to ensure that it could be played by a real orchestra. This required careful attention to the capabilities of the orchestral instruments, and therefore, the technical improvements outlined above were a crucial step towards minimising time consuming problems that could occur during rehearsals.

With the composition completed, the score layout was tweaked to make sure that all of the elements were clearly visible. Empty staves were hidden to make the score more concise. Finally, title pages and programme notes were written to adhere to standard scoring practices.

A MIDI mock-up is an audible representation of a score, primarily created with software instruments or synthesisers. This artefact is not an essential part of the composition process, although many composers of the digital age produce mock-ups in addition to scores (especially for film/television music). If a new piece was to be performed by an orchestra, the person commissioning the work and/or the conductor would most likely want to hear an audible representation. MIDI mock-ups are good way to gauge how the music would actually sound, and after all, music is best appreciated when listened to, rather than viewed. The process of creating the Fantasia mock-up is detailed in section 9.