After the whirlwind of preparations and performances for the November 2nd concert, I’ve finally returned to writing new music. The end of November was filled with cleaning up my Threnody for Democracy recording, conducting an interview for Music from Humans, and, of course, celebrating Thanksgiving. But as December rolled in, I found myself looking at long-overdue projects and decided to dive into both composing and refining an existing collection.
Revisiting Love Letters
I turned my attention to my Love Letters collection—pieces inspired by deeply personal and romantic themes. This collection contains four piano works and three pieces for various ensembles. I decided to start with the piano compositions, using this project as an opportunity to move them into Dorico while simultaneously writing a new piece to add to the collection.
Transitioning to Dorico
Exporting the piano works from Finale to MusicXML for import into Dorico went relatively smoothly, though a few issues cropped up: missing pedal marks, odd layout problems, and some quirks with titling. I created custom page templates to maintain a cohesive look across the collection, which streamlined the process. However, there were still elements like custom dynamics (f+) & tempo markings (in tempo) that will require extra effort to replicate.
A New Work: Inspired by Turkey and Greece
For the new piece in this collection, I drew inspiration from my 20th wedding anniversary trip to Turkey and Greece. Written in binary form, the composition reflects the two halves of the journey: the ‘A’ section represents the land and air of Turkey, while the ‘B’ section captures the sea and islands of Greece.
To develop the ‘A’ section, I explored Turkish music, delving into its modes and rhythmic patterns. Two Turkish melodies particularly inspired me. While Turkish modes incorporate microtones, I approximated their flavor using Bb and C# in a melody grounded in A, harmonized with Western-style D harmonic minor.
For the ‘B’ section, I looked to ancient Greek melodies, including one I remembered fondly from my college studies. This section blends E minor with plagal cadences (IV-I) and incorporates whole-tone scales to add a shimmering, fluid quality. These elements evoke the sea and the feeling of island-hopping between the Greek isles.
Shaping the Composition
With these melodies in place, I began sketching out the structure. Listening to Romantic piano works, particularly those by Schumann and Schubert, helped shape the piece’s stylistic direction. Schubert’s Sonata No. 8, for example, provided insight into accompaniment patterns that translated well into the 7/8 rhythms I planned to use.
For the ‘B’ section, Debussy and Ravel offered inspiration for a more impressionistic approach, especially in evoking the sensation of water.
The first ‘A’ section came together quickly, with a main melody, chord progressions, and a contrasting development section where I fragmented the melody into the bass and added flowing runs in the right hand. This section ends with a return to the main melody, setting up a transition to ‘B.’
In the ‘B’ section, I aimed to emulate the gentle rocking of waves with a new accompaniment pattern.
The melody in 5/8, takes on a pentatonic quality and I decided to brake it up to evoke the feeling of island-hopping. Whole-tone runs reminiscent of Debussy’s La Mer, add variation and enhance the water imagery.
Refinement and Feedback
As the piece neared completion, I made various refinements, including the transition between the two sections to enhance fluid movement. Drawing inspiration from Hindemith’s Moon, I crafted a passage that bridges the tonal and rhythmic contrasts. In the ‘B’ section, I modified the accompaniment, which initially felt too monotonous, to better convey a sense of movement. I also spent time improving the notation, though I still encountered challenges in getting Dorico to behave exactly as I wanted. To ensure the work remains accessible without sacrificing its expressive intent, I sent drafts to a few pianists for feedback. Their input will be crucial in determining the playability of certain passages.
The Key Dilemma
One challenge I faced was the key relationship between the two sections. Traditional binary forms often start and end in the same key, but my piece features two distinct keys—D for the Turkish section and E for the Greek section. While I feel these keys best suit their respective melodies color, I’m experimenting with ways to unify them, possibly through a shared key center, which will require reworking the transition.
A Journey Close to Completion
The piece is nearly finished. Once I finalize the key structure and incorporate feedback from the pianists, I’ll polish the notation and call it complete. This composition represents a blend of cultural influences and personal memories, and I’m excited to see it take its place in the Love Letters collection.
As I wrap up this project, my next steps include continuing the process of transferring other pieces in the collection into Dorico. Beyond that, I’m eager to return to my Solo Circle Music series, which I have only completed, Aureole so far. For now, it feels great to be writing again.
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