when I write something is usually not inspired by anything external like you
know a place or an event or anything like that usually just comes from
nothing basically I like that feeling when it's just a completely you know
emptiness which is a blank canvas and it's it could be anything that's the
most exciting thing to me you just I don't I don't know how that happens you
know how how we create things how it comes from nothing you know whether it's
composing or or writing or or anything oh we're just talking you know we just
we just come up with it and we I don't know how I love that that excitement of
you know what's gonna come next I always usually start with improvising on the
piano or Athens synthesizer usually and I like to compose at the keyboard a lot
so I can use all my kind of sample libraries you can compose with sounds
that are fairly close to what it will actually sound like why that you know
it's a string patch or a choir sound that's that's useful I think to me
working at the synthesizer is also great because you can record yourself into I
use a lot as software kolodziejczak which is very you know easy and
intuitive and it's a great way to record almighty ideas and then I'll go through
all the ideas and kind of delete the ones that I don't care about and then
keep all the ones that you know give me a little some kind of spark and then
usually I'll bounce those tracks so I'll turn them into like an mp3 and put it on
my iPhone or something and I'll go outside into the park or something like
that and try to listen to them sort of outside my own little bubble try to
listen to them as if in the audience you know I'm not the composers and see if
it's still you know touches something in me or inspire something in me and if it
does then I'll keep I'll keep those ideas from then on I'll just kind of
keep building on those and it's more like a it's not usually from A
to B it's more usually like a puzzle and you don't know what the full framework
is framework is yet so you don't know what the the picture gonna look like but
you start putting one thing here and one thing here and this this could probably
be a beginning this could be in the middle and then eventually it starts oh
this is what the picture will look like
the importance of the text kind of varies a lot in in my music I think
sometimes it's it's super important and it's a it everything starts with the
texts other times certainly micro music it's a little bit more about just a
sound the the kind of creating a sound world where the notes and the the Tambor
is more important maybe than the the text is a little bit more the servant of
the music in a way pieces like the piece called dark night of the soul for
example which is kind of where the piano has a really big part and it's more like
a give-and-take and kind of dialogue between the choir and the piano
I'm very happy to cut stuff actually makes me feel good so so I do a lot of
that when I'm composing even after the piece is done I love editing that's when
my and both in terms of in composition but also with recording and sometimes
I'll I'll revise it later and cut stuff out because I always want to try to get
to the essence of a piece as much as possible and to to sort of get rid of
all the dead weight that's not really necessary I don't want to waste the
listeners time or the performers right I want it to be as compact as possible and
to not have stretches of music that aren't important