MAI
This chapter is dedicated to some of my selected compositions that came to life during this research. They are all variations of a core idea, where I wanted to test what could be done with a singular idea, expanding it and altering it in numerous ways. I wanted to use natural elements, such as flow of water, as an inspiration to create sounds that would fit that image. Still works in progress, the next steps would be to incorporate improvised sections over these frameworks, or using them as connectors for other compositions, to have a narrative.
MAI I
As an Arabic appellation, Mai means “water” for the one who goes with the flow. It also means of water(or related to water), fluid and things that are blue in my native language, Turkish.
A composition inspired by the water, specifically the North Sea, I have written a piece for 5 unfixed instrumentation with a similar approach of Solfeggio and De Pacem Domine upon commision from a friend. I wanted to implement the space and silence elements previously discussed to create a deep listening experience. This being the starting point, it has evolved into a creative source for 10 other compositions. I have used the D major scale with permutations, a serialistic approach to values and spreading the players around the audience to use the space, I explored the fludity and the tranquil aspect of the see. It starts with a solo entry and after each section, the number of parts entering gradually increases while the rests between each section gets longer. I have created the rests based on the length of an average breathe to emphasise the natural element. The piece is also written for a large space, a church or a factory, in mind to use the natural reverb or the area to enhance the experience and overtones produced. Still a work in progress, for this thesis I have arranged it for a SATB choir and produced a MIDI version of it. This version has served as a base for several upcoming compositions.
2025, Den Haag
MAI V, (2024)
5 parts for unfixed instrumentation
Written for 5 part, without fixed instrumentation, it is a piece that explores the natural pulsation of a calm sea. Branching out from a central pitch, B natural, 5 voices keep expanding and flowing naturally, ever growing. Only the middle voice never expands until every other note reaches their final destination, then it is the only note that is allowed to move within the confined space. Still a work in progress, I have arranged this version for piano witha MIDI version. The last bar of the piece involves a T-voice application in open close position superior and a still T-voice, the root of a B minor triad, to get us back to where it started. The last last measure also involves a retrograde version of the melody.
This piece will a center piece for a section in an upcoming performance, to build a world around with other instruments. A constant structure, so that the improvisers can roam around freely. An ever-changing tapestry of sounds revolving around this back and forth motion.
Lastly, I have added hand written processes, formulas and ideas. The reason is to share the personal connection to this music and this has been one of my first attempts to compose away from piano, with a concept in mind and actively using my inner hearing. To me, this made certain connections to the images in my mind easier to convey through music.
MAI II, 2024
for woodwind quintet
Commisioned by a Czech woodwind quintet based in Brno, with this work I was influenced by the simple sound palette that was created with certain Pärt works while being inspired by the magical realism of the Japanese author Haruki Murakami. I wanted create a serene atmosphere, based on a structure that I have prepared and altering it through improvasation over this fixed material. Taking out certain notes and adding neighbouring tones, Experimenting also with freezing time in selected harmonies, to create a temporary stilness in the piece. I have followed a classic ternary form, with the last a played twice the speed and following an altered version of the D major scale presented in the first A section. Same with the first version, this version is also based on exploring different possibilities with the same core idea, a key element to minimalist approach. This second version is based on permutation and mirroring principles of a simple D major ascending scale, distributed between 5 voices in a systematic way. The B section serves as a transitioning towards the other realm, introducing new musical elements gradually and exploring different ranges and timbres of each instrument. Still a work in progress, I have tried creating a MIDI mockup for this research. This piece will be premiered in May 2025, in Brno, Czech Republic.
Even though these compositions that are presented here are still works in progress, the core idea of working with simple material nad pushing them as much as possible has been challenging but very inspiring. Trying to not mimic the style of Pärt that have been discussed so far but still trying to apply his approaches has helped me start a new compositional journey regarding how I think about writing. In the next chapter I will be analysing two pieces by Polish composer Henryk Górecki and John Tavener, while giving some examples from my own compositions inspired by their works and techniques.
The initial idea of Mai V, came from improvising on a singular core idea. That everything will expand from the note B but B will stay. Reflecting on staying true to something while everything around it changes.
The blue dot represents the audience. The lines are the instruments, which will have different layouts for different pieces.
This is designed to create a surround sounding experience in an acoustic setting, enhancing the experience and incorporating the space and the spacing of the musicians into the composition.
Further plans including this setting is to ask players to move in a clockwise motion, creating an ever-changing movement.
Thought process behind MAI I. I was inspired by Pärt composing not on the piano but away from it, trying to imagine everything with his inner hearing and with a pen and paper.
