British teacher and composer Lindsey Berwin is my guest writer today. She has written several pedagogical publications for teachers and students. I asked Lindsey about her work as a composer, and why composing has become an increasingly important element in her life. Over to Lindsey…
My journey as a composer began some thirty years ago, primarily in response to my pupils’ pedagogical needs and their requests for specific repertoire. Little could I have known then that I was embarking on a voyage which would blossom into a passion, providing me with a wonderful means of self-expression as a musician, and of self-discovery as a person.
I was privileged to have spent four invaluable years studying at The Royal Academy of Music, but I never received any instruction in composition. Thus, I was left to rely on my experience, knowledge and instincts as a pianist and teacher, to guide me through this unfamiliar territory! My first works included a sight-reading series, subsequently entitled ‘FunKey!’, a number of bespoke duets, a set of jazz-style technical exercises and a piano course for pre-school children.
A significant turning point for me was the discovery of The EPTA annual composers’ competition. This opportunity provided the catalyst for me to broaden my compositional horizons. In addition, it spurred me on to incorporate this creative element of music into my teaching, resulting in many years of enjoyment and satisfaction for both myself and my pupils.
In terms of my own development as a composer, having begun to explore a freer range of writing, the creative process gradually gathered momentum. I revelled in the technical challenges of wrestling with toccatas, fugues and studies, and in the chance to explore both the field of tonalities and the world of the subconscious. The latter resulted in works of a somewhat philosophical nature, such as Chromatic Fantasy, Enigma and Tunnel Vision, and, influenced by the jazz idiom, Introspection.
Opening out the parameters of composition meant the need to adopt diverse approaches. The above mentioned FunKey!, and its flute counterpart Jazz Keys, both later published by Kevin Mayhew, were written very much as teaching aids, intended to improve students’ reading and transposition skills. I created most of the material away from the instrument, relying on my inner hearing, and the process felt predominantly cerebral in its nature.
In order to compose more complex repertoire, working at the piano was, and remains, a necessity. Pieces with a specific structure, and those with a technical purpose again have their roots in a cerebral process. Fugal writing, in particular, has a methodical, almost mechanical aspect to its construction, and I find composing music of this type immensely rewarding intellectually. By contrast, compositions of the more philosophical nature emanate from my emotions (although edited by my intellect!), often providing a cathartic experience and an outlet for life’s complexities.
‘All The Fun Of The Fair’, published recently by EVC music, was my first substantial collection of pieces, and my inaugural venture into the realms of programme music. The suite consists of ten pieces representing different fairground rides, and I wanted to produce a sound-world which suitably described each. For this task I turned to my imagination for inspiration. Coming full circle, and returning to my metaphor of a journey, I hope that the following whistle-stop tour of the fairground will show how I set about achieving my aim, and provide an entertaining conclusion to this blog
The Ghost Train
An eerie, rubato introduction sets the scene. A left-hand ostinato based on augmented 4ths represents the movement of the train, while the right-hand mimics the sound of its whistle. Tension builds, until fortissimo chords herald the appearance of a frightening apparition. The train restarts twice more, the last time accelerating, until octaves, played presto, lead into a final terrifying encounter!
The Lotus Flower Ferris Wheel
The movement of a slowly turning Ferris Wheel is captured by fluid writing and gently rising and falling phrases. To add to the feeling of tranquillity, parallel 4ths are employed, transporting the performer and listener to the beauty of the Orient.
The Roller Coaster
An atmosphere of excitement tinged with fear is set from the start! The whole-tone scale rises, as the passengers are slowly carried to the summit. The cars descend dramatically, represented by vivace chromatic semiquavers, becoming dissonant along the way to reflect the cries of the riders. Twice more this scene is repeated, and the final descent builds in contrary motion to a fortissimo climax.
Slow, dissonant chords create a feeling of outer-space, leading into an appassionato section which gradually rises to a soaring fortissimo. The music then slowly dies away, with descending sequential imitation. A return to the opening style follows, but this time, almost like gravity, the harmony pulls us away from uncertainty (dissonance) to end with a feeling of peace (consonance).
The Mechanical Bull
A Latin style, characteristic rhythms and ornamentation carry us to the world of the Spanish matador. The 5/4 time signature at the start, and the later insistent ostinato add humour, as the rider attempts to stay mounted. As the ending approaches, a repeated pattern rises from the depths of the piano. It culminates in a fortissimo descending glissando, as the jockey finally admits defeat!
The Coconut Shy
Each hand represents a person competing to win the prize in this final piece. Acciaccaturas, imitation and changing time signatures, combined with considerable dissonance including bitonality, bring All The Fun Of The Fair to a suitably quirky and light-hearted ending!
For much more information about how to practice piano repertoire, take a look at my two-book piano course, Play it again: PIANO (Schott). Covering a huge array of styles and genres, 49 progressive pieces from approximately Grade 1 – 8 level are featured, with at least two pages of practice tips for every piece. A convenient and beneficial course for students of any age, with or without a teacher, and it can also be used alongside piano examination syllabuses too.
You can find out more about my other piano publications and compositions here.