How did you discover your creative territory? How would you describe it?
I like to write something that is timeless or forever changing like the sea! of the Sky! I use this reference when I'm writing.
From a very early age, when I saw the Jazz Divas on stage, I knew I "wished" I could be there instead of "her".
Unfortunately, I was raised to believe that the genres were very categorized and we were supposed to be a "bourgeois" family who plays classical music and of course who find it "hot" to listen to Jazz as well, as kind of a small rebellion...
But I was not supposed to get "down the ladder" and do it, so I did not think it was a possibility. I just wished it could.
When I was finally given a chance to "try", it was such a revelation! This was ME at last! Bliiiiiisssssss!!!!!!
I think everybody just does there thing thinking it's normal. it's only when other people comment on it that you find out that it's a bit unusual.
At this point, I'm pretty much combining elements of extreme metal and progressive music, minus the elements I'm not really into (lengthy guitar solos and bad lyrics).
My creative territory is from Children's to Horror and everything in between.
I'd describe it as versatile and prepared.
Time has discoved it to me. Multicultural and multiaesthetic.
I am romantic composer, and i do in that way because when i was child i listened almost romantic music
I arrived at my writing style by eliminating everything that was too obvious and generic.
I grew up with the idea that genius was something that only a chosen few had. After reading the Creative Spirit I became convinced that I did not need to be a genius to let the Spirit flow, and ideas did start to flow. Now my music is recognized published and has recieved great reviews in Classical Guitar Magazine. I may not be a genius but I certainly enjoy myself and love to play my stuff for the audience and love to hear others perform my compositions; who doesn't appreciate recognition?
My Dad was a minister. At first, we didn't have the funds for me to have a piano or lessons, but we lived right next to the church, where I spent many hours exploring sounds on the pianos there. One of the members of my Dad's church was the conductor of the Dallas Symphony. In return for letting him use church classrooms for auditions, my Dad asked if he would talk with me about music. At age 10, I had lunch with him, and he enthusiastically shared with me (treating me as a fellow musician) things about colorful orchestral pieces. I first heard the music of Sibelius performed live and, being a fellow nature-freak, fell in love with it.
When I was 12 years old, my Dad bought a piano, and I started lessons with a man who directed another church's choir. He nurtured me as a piano player, a budding composer and a shy boy. At about that time, my family attended church retreats at Ghost Ranch in northern New Mexico. The color and space there stimulated "ecstatic" (in its original Greek usage—ek statis—“standing outside ourselves’’) connections in my young (but old) soul. I composed short pieces on the piano in the convocation hall. Upon returning home, I was amazed at the color and "space" that seemed to have been trapped in those little pieces, so I vowed to live and compose someday in such a place.   | | |
Music kind of took me by the hand and led me into this territory. I'm also led into poetry, art and writing.
I don't consider myself to have a creative territory.
Search, listen, and develop; practice, search, listen, and develop; listen, practice, and write. Then, revise.
And then do it again, and again, and again.
Our style is very much alternative eclectic for want of a better term. Our instrument grouping is unique, and thus we can create unique music, while at the same time putting a different spin, for example on jazz, or celtic music. Sometimes we incorporate percusions as well, this only enhances and gives depth to some of our pieces.
My creative territory is hard won. My aim is to write music of integrity that is also accessible. My influences have been described thus, "his 20th century English influences are the pastoralism and extended tonality of Herbert Howells, the richness of Walton, the elegant delicacy of Berkeley and the jazzy impetus of Rodney Bennett; wider European influences include the caustic irony of Shostakovich and Kurt Weil and the rhythmic impetus of Prokofiev and Stravinsky. Yet Dawes welds from his influences an individual voice that is distinctive and refreshing, displaying assured craftsmanship and characterful invention" (copyright Malcolm Miller 2008). |
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