Written Short Pieces

The purpose of this blogpost is to explain and describe the by which I write and create my series of musical writing (scores) named “Written Short Pieces”. The first thing to mention in this regard is the underlaying structure or method of generation. First and foremost, the way I go about the creating of my these pieces is intuitive rather than analytical. What this means is that it is nothing like a predetermined or preconceived row/ pattern of chords or chordal structures, which is then used as a starting point for a series of melodic and rhythmic deductions and expansions (like in traditional harmony for instance). So, what do I mean by “intuitive”?

I usually go about creating in the following manner( the process I use is more akin to habits and rules of thumb, than to a method or methodology in the strict understanding of the term) : 

I have a vague idea of what I want to accomplish. This vague idea is best characterised, I think, as something like a “mood” or “vision” of what it is I want to create, or the way I want to go with the piece. This is nothing definite, though. As I write and the piece materialises so does the contour of the idea I had successively solidify to something concrete and definitive.

“The Process is Intuitive, rather than Analytical”

My vague idea is structured around a loosely defined core concept, which means that I try to keep the compositions somewhat structured, around this concept as to prevent them from being flaky and lack any definite character. And thus in the process of writing generating the pieces compositional inner logic (this intuitively generated logic, can then of course later be used as a starting point for the creation of a new piece from the old one using analytical and deductive methods: or further creation using the intuitive method). The method I most often employ to keep the compositions structured are; variations and repetitions of themes and phrases throughout the piece. The “Written Short Pieces” series is also characterised by a minimal use of “determinators” like dynamics and other musical terms and markings making the musical instructions precise. This is by design. It makes the pieces more “open”, both to reader and to performers when imagining or enacting the music contained within the writing.


Intuitive generation in the manner which I have described it NOT to be confused with musical improvisation. Although these short written compositions are complete works in themselves, they also serve as a codified repository of musical ideas, phrases and motifs, I can use when composing longer and more elaborate works in the future.