by Ricardo Matosinhos
Matosinhos International Competition 2024
The creative process is often chaotic, and this can be intimidating for many musicians. As Sullivan aptly describes, “It's like washing a pig. I'm serious. It's exactly like washing a pig. It's messy, has no rules, no clear beginning, middle, or end, it's kind of a pain in the a**, and when you're done, you're not sure if the pig is clean or even why you were washing a pig in the first place” (Sullivan, 2008, p. 46).
My creative process aligns well with Sullivan's description. It's a form of controlled chaos, and I firmly believe that creativity and chaos often go hand in hand. If you follow the same routines every day, there's little room for creativity. For instance, if you're working on a technical aspect of your playing and keep doing the same task in the same way, you can't expect significant improvements. What works for your teacher or your friends may not necessarily work for you. When you choose a different path, you open the door to new possibilities. So, in both horn playing and composition, just dare to embrace the chaos, to be creative, and to learn from it.
I can pick up my horn and start playing at any time, but I struggle to sit at a desk and compose. I was trained as a horn player, not as a composer. Consequently, I've learned to be spontaneous, to seize ideas as they come. Sometimes, I'm in the shower, driving my car, or about to teach a class in two minutes when a musical idea strikes. Instead of complaining, I'm grateful for these inspirational moments, even if they don't always arrive at the most convenient times. Since I always have my mobile phone with me, I open a recording app and capture the idea. If a horn isn't nearby, I might sing, hum, do something percussive, or whistle. This might even involve overtone singing or buzzing with multiphonics, when multiple notes are involved—anything will do! Capturing the moment allows my music to flow without overthinking. Later, when I have time, I listen to the recordings. Unfortunately, sometimes some of them don't make much sense to me anymore. In such cases, I extract rhythmic patterns and melodic motifs, and I attempt to reenter that creative state. If it works, I compose, whether on paper, tablet, or computer. If I can't recapture the mood, I just leave it and try again another day. Sometimes, even on the same day, certain ideas that seemed elusive before just suddenly reappear while others may linger in my imagination for days before I put them down on paper.
Now, let me provide some examples of how some of my pieces came to life. Heptafunk is a composition for twelve horns, where only eight players actually use mouthpieces while the other four play percussion using their horns. 'Hepta' means seven and 'funk' evokes a funky mood. Thus, this piece begins with two simultaneous time signatures, 7/4 against 7/16. While some composers might use this as an opportunity to explore new techniques, my choices are often more spontaneous. The story goes like this: one day I was driving to work, and I had an idea in C Lydian dominant with a meter of seven. This mode, with its Bb and F#, emerged naturally in my mind, closely resembling horn sounds. If you start an overtone series on C and ascend to the 12th overtone, the first F and B you encounter are closer to F# and Bb. As I was turning right at an intersection, my turn signal's clicking created a polyrhythmic contrast with the music I was singing. I liked the effect, so I quickly recorded it on my phone and later incorporated it into the piece.
I also composed a piece for a flute ensemble titled Onde é que eu já ouvi isto? (Where Have I Heard This Before?). The inspiration for this piece came during a class with a young student who was playing Machadinha, a traditional Portuguese folk song. We started by playing it at a slow tempo, and the student recognized it but couldn't recall the song's name. However, as we gradually increased the tempo, suddenly, the student identified it. This experience led me to think about the intriguing effect of taking a well-known folk melody and performing it at a different tempo, creating the sensation of “I know this melody, but I can't place it.” This idea gave birth to the composition, which later won a composition prize.
Another piece with an interesting title—and a delightful backstory—is There's a Bottle in My (Friend)ship! One morning, I had the first rehearsal of a piece I composed for a flute trio. In the afternoon, a friend approached me, asking if I'd be interested in composing a piece for a flute ensemble to be performed at a youth orchestra festival. I initially hesitated due to a tight schedule and an upcoming holiday on Madeira Island. However, his mention of a piece that involved tuned bottles sparked my creativity. It was a warm day, so I grabbed a 33cl bottle of cider, I notated its highest pitch, and I proceeded to enjoy its contents, while notating the lowest pitch in the alto flute's range. Then I moved on to a 75cl bottle of wine, which fell within the bass flute's range, and finally, I used a 25cl bottle of sparkling water. This time, Bacchus, the Greek god of wine, inspired me to compose the piece and within a few days, it was ready.
One day, I asked my wife, who is a translator, if she had ever considered writing a children's story. She replied that she preferred analyzing and deconstructing phrases rather than creating them. However, I began spontaneously crafting a story about a cat losing its lives as I spoke to her. In a matter of minutes, I had created a story that eventually turned into a children's book and even a musical with a full symphony orchestra.
As you can see, my creative process is not predefined. When I decide to compose a piece, it's like casting a net into the unknown, not knowing what kind of fish I'll catch. Sometimes, while practicing the horn, the exercises evolve into pieces or etudes. Other times, a mere two notes or a rhythmic pattern serve as the spark that ignites a complete composition.
The renowned horn player Douglas Hill (2001) recommends creating your own etudes based on the pieces you are working on. This approach allows you to devise solutions for specific problems that you might not find in broader etudes. Hill also encouraged his students to compose, and his book provides valuable insights into various processes and outcomes. One crucial point he emphasized was that students who composed their own music began to practice more enthusiastically because they enjoyed performing their compositions. This improved their playing skills and their ability to understand and interpret music composed by others.
Apart from etudes, I often suggest that my students create their own cadenzas, as this can significantly enhance their performances. Cadenzas should showcase virtuosity but should not be overly challenging, especially because they are typically performed at the end of a piece's first movement. While playing a cadenza composed by another musician can be a valuable experience, I've observed instances where players select cadenzas that do not align with their unique playing style or strengths. Therefore, it's essential to consider factors like your preferred range, dynamics, articulations (legato or staccato), and any extended horn techniques that you can easily perform, which can enhance your performance. To help with creating cadenzas, I recommend Michael Hoeltzel's book (2006), which outlines the best approaches to the process.
Theme-and-variations compositions offer an excellent starting point for aspiring composers, as they provide existing material with which to work. I also encourage my students to compose their own variations when performing pieces that follow this form. Through this process, you gain a deeper understanding of the music you're playing by analyzing the harmony, the main theme's characteristics, and how the composer blends essential musical elements to craft the variations. Even if you decide not to share your own variations with a wider audience, the mere process helps you grow as a musician.
Just like a cooking recipe, music also comprises various ingredients such as rhythms, notes, articulations, dynamics, and more. Like eating the same dish for weeks can lead to boredom, practicing the same exercises in the same way can become monotonous. Daily practice is crucial for improvement, but it doesn't mean you can't introduce variations. I've practiced with subtle variations for as long as I can remember. This approach not only keeps me engaged but also leads to improvements in other aspects of my playing. To assist my students and fellow players, I compiled these ideas into my method Horn365, which I developed over 20 years before releasing it.
The concept of varying exercises can also help you stay motivated and make consistent progress. Consider Italian cuisine, known for its mastery of variation. By simply changing the type of pasta while keeping the sauce constant, you can transform your meal. You can also replace meat with vegetables, fish, or seafood. All of these changes happen by replacing one ingredient at a time. Similarly, pasta primarily consists of wheat flour, and by replacing it with pizza, the process restarts. The beauty of this culinary approach is the flavor you get out of simple ingredients and changes to savor and share with your friends during a meal. The same principle applies to music: by adding variety to your practice sessions, you improve and stay motivated to practice more. Perhaps, somewhere in this process, you might even compose a piece of music and enjoy the experience.
Despite lacking a formal composition degree, I've discovered that it doesn't preclude me from composing. As horn players, we are all fluent in the language of the horn. We understand the intricacies of our instrument better than anyone. Our knowledge surpasses what any orchestration, instrumentation, or music notation book can provide. This unique insight allows us to collaborate with composers or even create our own music. The idea of idiomatic horn writing became prominent for me as I started teaching, and it was a central theme in my master's and doctoral research. While seeking solutions to address specific issues faced by my students, I began composing exercises and etudes. When I initially attempted to publish my first book of etudes, publishing companies showed little interest and one even told me that they only published music “written for humans.” However, a decade ago, I organized an international online etude competition and since then my music, including my etudes, has been performed worldwide. Unfortunately, there's still no record of any extraterrestrial performances! If you enjoy my music, the credit goes to Dr. Jeffrey Agrell, who played a pivotal role in recognizing the quality of my compositions and opening doors for my work to reach a global audience. My advice here is not to be afraid of sharing your music with others. If you appreciate it, others are likely to as well. Plus, constructive feedback can enhance your composition process.
My most recent project involves composing a new set of technical etudes for the horn, which I've been working on for the past few months. With the release of these eleven technical etudes, I'm hosting another international online music competition, this time in collaboration with my publisher at AvA Musical Editions. I invite all of you to participate. Unlike traditional music competitions, there is no application fee—it's entirely free. The only requirement is that participants perform using the originals. For the first round, you can select one etude from this new book and you're welcome to record more than one. Each video counts as a separate application and thus increases your chances of being selected. In the final round, you can choose one of my solo pieces. Additionally, this competition offers a pedagogical aspect: every participant, whether winner or not, will receive personal feedback from me, as the composer, about their performance. This process not only improves your playing but may also inspire you to start composing your own music. Most importantly, it promises to be an enjoyable experience. You can find more about it on my website: https://www.ricardomatosinhos.com
I look forward to listening to your recordings—and to discovering your compositions.
Bibliography
Hill, D. (2001). Collected Thoughts on Teaching and Learning, Creativity and Horn Performance. Warner Bros. Publications Inc.
Hoeltzel, M. (2006). Mastery of the French Horn: Technique and Musical Expression. Schott Music.
Sullivan, L. (2008). Hey, Whipple, Squeeze This—A Guide to Creating Great Ads (3rd ed.). John Wiley & Sons, Inc.
