As a composer, one encounters various musical ideas, which could appear unexpectedly during
mundane activities such as driving, walking, or household chores. These fleeting moments of inspiration
could manifest as rhythmical patterns, snippets of melody, or chord progressions that resonate with the
composer. Creating music is a highly personal and unique experience that varies significantly from one
composer to another. While some composers prefer a structured and systematic approach, others rely
on their intuition and spontaneity to guide their creative output. Regardless of the method used,
composers typically experience moments of inspiration and insight that serve as starting points for the
composition process.
Jan Gunnar Hoff and Tigran Hamasyan, jazz pianists and composers mentioned in my master's thesis,
have critically influenced my approach to composition. He emphasized the importance of creating
transparent and singable melodies while keeping simplicity in mind, principles often associated with
Nordic/folk music. The creative process of composing music is complex and multifaceted. Composers
must navigate various aspects of composition, including melody, harmony, rhythm, texture, and timbre,
to create a cohesive and memorable composition.
Paul Hindemith presents numerous techniques for composing melody and harmony in his book The
Craft of Musical Composition (1941). Among these techniques, Hindemith stresses the importance of
constructing a melodic line guided by a specific direction and purpose. He further explains that this
melodic line should remain coherent throughout the work. Additionally, he suggests that the melodic line
should be shaped to convey an emotional response to the listener. Paul Hindemith's theories on
constructing a melody are based on three main components: intervallic structure, motivic development,
and rhythm. Intervallic structure refers to the relationships between the melody's intervals, such as using
leaps and steps to create tension and resolution. Motivic development emphasizes the importance
of creating a small number of motifs or themes that can be developed throughout a piece to create
coherence and unity. Additionally, Hindemith acknowledges the importance of rhythm, which can be
used to create various effects in a melody, such as syncopation and hemiola (Hindemith,1942, p.175-
193).
Harmony is a critical element of composition that requires careful consideration by the composer. Paul
Hindemith emphasizes the importance of a logical and coherent chord progression that supports and
reinforces the melodic line. Furthermore, he discusses the significance of the relationships between the
different tones of a composition, suggesting that a composer should pay close attention to the harmonic
implications of each note in the melody. This is essential to harmonize the composition, creating a
cohesive and satisfying musical experience. Harmonic rhythm: In his works, Hindemith
emphasizes the importance of careful control and manipulation of the pace of harmonic change in
composition. He suggests using pedal tones and harmonic sequences to generate interest and build
momentum. Counterpoint: He further expounds on the importance of counterpoint in the
harmony arrangement, emphasizing the need for a balance between independent melodic lines
and harmonically coherent chord progressions. (Hindemith,1942, p.109 156).
Hindemith's composition methods were characterized by a deep respect for traditional musical practices,
a willingness to explore new and innovative techniques and a dedication to creating aesthetically
pleasing and intellectually stimulating musical works. I have utilized his approach to experimentation,
employing raga scales to develop my unique sonic identity.
The composing process is constantly forming before the actual composing has even begun. Romantic-
era composers saw music as a way of personal and emotional expression, expanding the emotional
spectrum in music to better represent the full range of human emotions. As a result, people often
connect with music through forms that tell different stories (String Ovation Team, 2019). This highlights
the Romantic-era composers' belief that music is the best art form to convey the full range of human
emotions. By expanding the emotional spectrum, composers can create music that connects with people
on a deeper level, often through forms that tell different stories.
My compositions always begin with a story I have personally experienced or a sorrowful event I have
read about. My main instrument for writing music is the grand piano, and I sometimes use just a synth
drone through the Prophet 06 to improvise freely on the piano. I always take recordings from my mobile
phone of the whole process, from start to finish. After developing various melodies that are viable
candidates for the composition, I move on to harmony. I will repeat this process for 5–6 days, listen
through all the recordings, and find a suitable melody and harmony for the composition. After finding a
melody and harmony, I notated everything in Sibelius and Logic Pro to organize ideas and experiment
with synthesized sounds. Next, I return to the piano to arrange all the other instruments. The process of
finding a suitable drum groove or rhythm begins immediately after. I send the Sibelius and the logic files
to my drummer, then jam with him until I am satisfied with my drum groove. In the process, most likely, I
will change my groove and redo all the parts. Finally, I will play the piece with my bassist and try to make
a form once I am comfortable with both the piano and drum grooves. Once the groundwork has been
established, I reharmonize my arrangements and create other variations before selecting the final
version. I usually make three different versions of the same song.
My piano voicings and choice of raga scale are the foundation of my signature sound. Lately, I have
rediscovered the Bhairav and Bhairavi scales and have redone all my compositions, whether I play the
melody in the Bhairav scale or use it to improvise my solos. I turn the musical ideas into voicings and
melodic lines on the piano before typing them into the Sibelius program, breaking or bending the rules of
music theory as I see fit. During the composition, I sometimes encounter challenges in finding
inspiration or motivation. To surmount this obstacle, I explore various genres, collaborate with other
musicians, or attend concerts and festivals, giving me Innovative ideas and inspiration. Once I complete
a composition and make a recording, I set it aside for a brief period, typically a few days, before
revisiting it to finalize the changes with my signature sound and aesthetic decisions.
Despite Tigran's influence over the tempo and timing, I endeavored to incorporate my interpretation of
the composition by utilizing a 5/8 rhythm as a refrain, with the piano articulating a quintal groove,
followed by the main melody in a 5/8 rhythm.
The song begins with a captivating free intro, leading into a free A part, followed by a refrain in a 5/8-
time signature. This pattern repeats with A2 and refrain. The song then culminates in a solo performed
in a 9/8-time signature. It ends with a powerful return to the refrain in a 5/8-time signature, creating a
dramatic and satisfying conclusion to the composition.
Two months after repeatedly listening to the recordings, I replaced the duduk with vocals in the
introduction. I needed to create a sound evocative of vulnerability, so I consulted my colleague Hanna
Nærum and explained the desired emotions she should attempt to convey through her improvisational
melodies. And I was pleased with the outcome. This composition utilizes the Bhairav and Bhairavi
scales throughout, including within the solo section.
The title of the musical composition "Second Chance" holds significant personal value as it was inspired
by the experiences of a close friend incarcerated at a young age. The emotional impact of his
imprisonment, including regret for his actions and the disappointment he caused his parents, were
vividly described to me. The moment of his release, when he received the news via letter and was
overcome with tears of joy, marked a turning point in his life and served as the impetus for my creative
process in composing the accompanying song.
In light of the mixed emotions of happiness and regret that this song aims to evoke, my goal was to
compose a melody that could effectively capture the essence of guilt while remaining simple. After
careful consideration, I settled on a melody in the key of Bb. I utilized simple chords in the key
to enhancing the song's emotional quality further with a drone effect in the synthesizer in a 4/4-time
signature.
Upon completing the composition, I proceeded to notate every aspect of the song using Sibelius's music
notation software. This gave me a clear visual representation of the musical elements, including the
melody, harmony, and rhythm. In addition, I shared my composition with my band members, providing
detailed instructions regarding the emotions the song aimed to evoke and how each musician should
approach their instrument to enhance the overall musical experience.
Instructing my band members went smoothly and efficiently, primarily because I understood the musical
elements required to bring the composition to life. For example, I instructed my vocalist to adopt a
somber tone in the vocals to convey the feeling of sadness that the song aims to evoke. The intention
was to create a mood that would resonate with the listener, evoking a sense of empathy and
understanding. In addition, I instructed my drummer and bassist to incorporate elements of Nordic jazz
into their performance, adding a sense of complexity to the piece while maintaining its emotional quality.
Specifically, I asked the drummer to use the whisks, a technique commonly used in Nordic jazz, to make
a unique sound that would complement the composition's melody and harmonies. This instruction
was intended to elevate the overall musical quality of the piece and create a distinctive sound that would
distinguish it from other compositions.
Moreover, providing detailed instructions to my band members was essential to ensuring that they
understood the emotions behind the song and how their playing could contribute to its success. Through
this process, I communicated my vision to each musician, allowing them to understand their role in the
composition fully. As a result, the performance of the piece was elevated, creating a musical experience
that resonated with the listener on an emotional level.
The composition commences with a synth drone, leading to an initial A section featuring both piano and
vocals, followed by a subsequent B section showcasing the entire band. The A section is then reprised,
leading into a piano solo. Finally, the song culminates with a highenergy segment characterized by a
7/4-time signature, returning to the A section with the sole accompaniment of the piano, thereby
providing a dramatic ending to the composition.
The next section of the musical piece was intended to reduce the intensity and allow the piano to play
the melody independently. The aim was to portray my mother's hurdles during her initial two-year stay in
Norway while emphasizing her resilience in overcoming them. The melodic progression was crafted to
coincide with the narrative and symbolically represent the various stages of her journey. The
composition then returns to the refrain, where the build-up of the musical arrangement is further
enhanced.
The compositional process can, at times, be a time-consuming task, often taking several months. In my
case, I returned to my composition after six to seven months in search of an outro. After listening to the
composition's recorded files, I realized an energetic outro section was necessary. To achieve this, I
incorporated elements of the raga into the composition by creating an atmospheric drone in the key of C,
playing the raga Bhairav and Bhairavi over it, and introducing an energic arpeggio in the key of C at a
tempo of 185 bpm. This arpeggio was used in my composition and contributed to the energetic final part
of the composition. In addition, I created a melody that could lift the outro section with the addition of
vocals and guitar.
I was highly satisfied with the song's energy, and thus asked my colleague, Carsten Omholt, who plays
drums, to collaborate with me in further exploring the music. The incorporation of acoustic, live
musicians can bring a stimulating and innovative atmosphere; it was a wonderful experience playing live
once more after a prolonged period of seclusion in a piano room, as it can be a tiring and solitary
process to do everything independently. I held individual rehearsals with Henrik Bakka, my bassist, to
introduce him to my composed written parts. Subsequently, we collaborated to modify and refine the
lines to give them his signature style. Bass lines are crucial to my music, as harmony and arrangement
rely heavily on the voicings and their corresponding root notes.
Following two rounds of playing the melody, I endeavored to incorporate vocals to complement the piano
in the composition. Despite generating several potential components that could serve as the B section of
the song, I needed help. My critical evaluation of the work fostered self-doubt and creative impediments.
To overcome this, I took a break from the composition, returned to the piano, and endeavored to
discover chords that would enhance the B section of the song. As a result, suitable chords were
eventually identified, and modulation to the key of Gb was employed to elevate the composition.
Following the piano solo, I sought to create an outro that would be suitably energetic for the culmination
of a raga (Jhala). To achieve this, I devised a rhythm in a 7/4-time signature that would imbue the song
with a sense of upliftment and signify the protagonist's release from prison in the narrative (second
chance). However, I also wished to return to the primary melody that began the composition to capture
the idea that the protagonist still has to confront his parents even though he is now out of prison. This
produced a dramatic ending to the piece.
In this musical composition, I aimed to integrate vocals as a complementary element to the piano during
the introduction. In the subsequent section, marked as the B part, I intended to introduce the entire band
and establish a Nordic jazz ambiance. In the following part of the piece, the piano and guitar instruments
harmoniously perform a countermelody while the vocals deliver the melody of the B part.
The process of composition is an essential component in creating any musical piece. Before one begins
the actual process of composition, it is necessary to consider how this composition will be constructed. I
have found that, in my compositions, engaging in a pre-composing process dramatically aids in creating
a successful piece. This pre-composing process involves imagining a story, point of view, scene, or
feeling before it is written down. Such a process of imaginatively engaging with the piece before it is
composed can be further enhanced by employing a formal method of composition, such as the seven-
step composition procedure developed by Dr. Brian Moore (The Collaborative Music Education Series,
2014, 2:05). For instance:
i) Find a problem
ii) Creating something
iii) Develop the first draft
iv) Evaluate it
v) Revisions
vi) Analyze for future use
vii) Share
"Tsunami song" is inspired by the 2004 Indian Ocean Tsunami, triggered by a major earthquake off the
western coast of Northern Sumatra, which had devastating consequences. Infrastructure was severely
damaged, and the solid tidal waves that swept across Sri Lanka’s eastern, southern, and western
beaches on December 26 claimed many lives and caused severe flooding in coastal areas (UN Office
for the COHA, 2004). When the tsunami struck Sri Lanka in 2004, I was present. Unfortunately, many of
my friends did not get closure since their relatives were not found. This made a lasting impression on
me.
Most of the composition work undertaken at the University of Agder in Sal 3 involves utilizing a Steinway
piano and a synthesizer. After improvising on the piano, I produced a variety of melodic phrases that
conformed to the theme of "tsunami." After settling on the most suitable melody, I constructed the
accompanying harmonic accompaniment, finishing with a simple yet effective harmony outlining the
original melody in a 4/4-time signature. To further refine my composition and achieve my distinctive
sound, I incorporated Raag Bhairav and Raag Bhairavi scales, utilizing ornamentations such as trills.
The result was a composition that perfectly captured the desired mood and tone.
Figure 16. "How Sri Lankans United Briefly After the 2004 Tsunami" 2004, By D.B.S. Jeyaraj. (https://www.dailymirror.lk/print/dbs-jeyaraj-column/how-sri-lankans-united-briefly-after-the-2004-tsunami/192-59367)
I was keen to achieve a dramatic and atmospheric sound for the introduction of my composition, so I
was fortunate to have the opportunity to collaborate with Duduk player Canberk Ulaş who played the
intro to "Tsunami." Before improvising the melodies for the intro, I explained to him the composition story
and the emotions he needed to feel to convey the desired atmosphere effectively—the synthesizer
aimed to produce a continuous, sustained tone in the key of C. At the same time, the duduk would
improvise melodic lines in the Raag Bhairav and Raag Bhairavi scales in between piano interludes.
At this point, the composition was intended to be a slow ballad; however, I desired to introduce an
energizing part after introducing the melody at the beginning of the composition. Additionally, I sought to
incorporate drums. To accomplish this, I returned to the piano and attempted to beatbox a drum groove
while playing the melody. And I was inspired by the composition "Markos and Markos" by Tigran
Hamasyan (2017). Tigran initially performs a swing melody in a 4/4-time signature in Markos and
Markos. Toward the end of the piece, he plays an exceedingly energetic piano rhythm in a 5/8-time
signature.
Figure 19. Video example no.5 of Tigran's "Markos and Markos" featuring lively piano rhythm in a 5/8-time signature.
I was pleased with the song's A part and refrain sections, yet I felt stuck in a loop. Therefore, I had the
concept of playing the piano solo in a different time signature to escape the loop. After experimenting
with various time signatures, I eventually settled on a 9/8-time signature (3+2+2+2). At this juncture, I
tried to keep my foundations by locating the correct chords on the ragas Bhairav and Bhairavi.
Subsequently, I developed some simplistic yet effective chords in a 9/8-time signature.
Upon determining the structure of the composition and creating the A and B parts, I sought to enhance
the piece's musicality by seeking inspiration from other musicians. The song "Seven Days of Falling"
(Esbjörn Svensson Trio, 2003) inspired me, particularly in the A part of the song. The chords utilized in
this section are simple yet impactful, leaving a lasting impression on the listener. With this in mind,
similar chords were incorporated into the solo part of the composition, which will serve as the piano
solo, and modulation to the key of Ab was employed.
As the composition progressed from the A to B part, I intended to infuse Nordic jazz influences into the
piece. This decision aimed to create a sense of coherence throughout the composition and provide a
musical contrast to the more melodic and harmonious B section. Additionally, in the improvisational
segment of the piece, I aimed to integrate elements of the Bhairav and Bhairavi ragas to create a unique
and distinctive sound that would further elevate the composition; including these ragas allowed me to
introduce new tonalities and add a sense of complexity to the improvisation section, enhancing the
overall musical experience for the listener. Finally, I aimed for the piano solo to evoke a range of
emotions and convey a depth of feeling.
In Sinhala, "Amma" means "Mother." When I moved to Norway, I composed a song called "Amma," one
of my first creative works, including raga elements. The song was inspired by my personal experience of
my mother leaving me in Sri Lanka to find a better life for us. She faced many difficulties during her
journey but never gave up. Her determination and courage inspired me to write the song as a tribute to
her.
For the introduction of the song, a clear sound was necessary. As such, I opted to improvise using the
Kalyan raga, which is an evening raga commonly performed in Indian classical music. The Kalyan raga,
also known as the Lydian scale in Western music, features a Major scale with an augmented 4th (Music
Tales, 2021). I used the pianos sustain and reverb features as a drone during the introduction (open
intro). Drawing from my cultural background, I incorporated notes from Sri Lankan folk songs, which my
mother used to hum, despite being unaware of their origins. By doing so, I was able to arrive at a
straightforward melody for the composition.
Subsequently, I sought to incorporate the influence of the ragas into a piano solo section in the outro.
For this purpose, I intended to play most of the solo by holding onto the strings in the left hand, a
technique known as palm muting, which produces a percussive sound that simulates a sitar. Following
the piano solo, I returned to the arpeggio and the melody, which ultimately concluded the composition in
an energetic fusion.
The instruction of my band members was conducted effectively due to my understanding of the musical
elements necessary to bring the composition to life. The aim was to create an emotional atmosphere
that would resonate with the listener, eliciting empathy and comprehension. The overall composition
exudes a Nordic jazz ambiance until the final outro section, which is influenced by raga. I abstain from
using lyrics in my compositions to allow for greater flexibility in interpretation and to convey emotions
and themes more abstractly and universally. The absence of lyrics enables the listener to form
associations and meanings with the music. The composition commences with an open piano
introduction and an A section that features both piano and vocals. This is followed by a subsequent B
section that showcases the entire band. A counter melody is played in a section with piano and
guitar while vocals sing the refrain. The song culminates in a high-energy segment with an
arpeggio leading into a piano solo. The energetic fusion of the outro melody concludes the composition.
Esbjörn Svensson, the renowned pianist, is my notably inspiring role model. His flair for a precise touch
and more traditional chord voicing techniques is highly compelling; an undeniable melodic movement
characterizes his voicings and chords, and his left hand is particularly adept at playing melodic
accompaniments within the chord. What is particularly striking about Svensson's solo works is his
penchant for melodic improvisation and the inclusion of improvised preludes and postludes; a prime
example is Seven Days of Falling (Esbjörn Svensson Trio, 2003), wherein he ingeniously incorporates
pauses and silences to form the melodic backbone of the composition. In addition, the composition is
structured such that the intervals between melodic phrases become notably poignant in
Svensson's music.
I have also enjoyed listening to the Armenian jazz pianist and keyboardist Tigran Hamasyan. In contrast
to Svensson, Hamasyan has a more groove based and progressive approach to playing while still
exhibiting a considerable level of harmonic complexity both as a soloist and a collaborative partner.
Tigran's music draws heavily upon Armenian folk music, jazz, dubstep, metal, and electronic music
(Schumann, 2020). However, as a composer, he has transcended these genres to demonstrate a
remarkable capacity to innovate and collaborate with an eclectic range of artists from other styles.
By incorporating certain ragas into my compositions and complementing them with appropriate rhythmic
patterns and dynamics, I can create a contemplative and intense sound that has become my signature
style. Traditional chord voicing techniques and melodic improvisation are also essential components that
I incorporate into my compositions. I have developed my sound through the inspiration of musicians like
Esbjörn Svensson and Tigran Hamasyan, who have distinct approaches to music. Svensson's work has
influenced the melodic backbone of my compositions, with the intervals between melodic phrases
informing my use of melodic improvisation. Hamasyan’s groove-based and progressive approach
has influenced my harmonic complexity and innovative spirit. With the use of ragas such as Bhairavi and
Bhairav, I have created a unique and distinct, contemplative, and intense sound while also drawing on
the rich cultural traditions of Hindustani classical music.
Music is a form of art that can cross boundaries and make a connection with individuals from a variety of
backgrounds. While several elements create an outstanding musical composition, an artist's unique
signature distinguishes them from other musicians. An artist's signature sound is developed through
various elements, including instrument selection, techniques, and playing style. Additionally, the artist's
personal experiences, preferences, and cultural influences can all contribute to the unique sound they
create.
In my work as a musician, I have spent several years exploring the possibilities of combining Nordic jazz
with traditional ragas of Indian classical music in my compositions. Through this exploration, I have
discovered that the fusion of these two styles creates a fresh and innovative sound. The intricate melodic
structures of ragas have added a new and inspiring dimension to my Nordic jazz compositions, leading
to new improvisational ideas. One of the most exciting aspects of this fusion is its opportunity for
musicians from different cultures to collaborate and create something unique. As outlined in my thesis, I
have identified the Bhairav and Bhairavi scales as the most suitable scales to incorporate into my
musical compositions. These ragas are known for their ability to evoke powerful emotions, and I
have utilized them in my compositions to create a distinct sound. Bhairavi, a morning raga, is considered
one of the oldest ragas, believed to have originated from the folk music of North India. It is known for its
emotional appeal, particularly in expressing romantic and devotional themes (Harmonium, 2013). In
contrast, Bhairav is traditionally played in the early morning hours, just before sunrise, and is associated
with serenity and calmness (Courtney, 2021).
My compositions are inspired by Sri Lankan folk music melodies and rhythms, and I use ragas for
improvisation, refrains, and outros. In addition to incorporating ragas into my improvisation, refrains,and
outros, I have also utilized them as the basis for my compositions' melodic and harmonic content. For
example, in one of my compositions, "Tsunami," I used the Bhairavi and Bhairav raga as the primary
musical motif, with variations appearing throughout the piece. Furthermore, the melody was supported
by a chord progression based on the Bhairavi scale, further reinforcing the raga's emotional quality.
I used the Bhairav and Bhairavi raga in another composition, “Second Chance,” as the basis for the
entire piece. I began with a simple melody influenced by Sri Lankan folk music and in the Bhairav scale,
gradually building the composition by adding more complex rhythmic patterns and harmonies.
Throughout the piece, I incorporated improvisation using the Bhairav scale to add variation and depth to
the melody. In addition, I have blended elements of the Bhairavi and Bhairav scales to create a hybrid
scale that I use in my compositions. This hybrid scale combines the emotional intensity of Bhairavi with
the calm and serene quality of Bhairav, resulting in a unique, contemplative, and intense sound.
Furthermore, through listening to the works of various pianists, I was inspired and influenced to further
my creative endeavors.