Creating the Music

Whilst creating the music for Sea Woman was not in itself going to be a problem, how all the different musics – gamelan, orchestra, ska band, chorus, solo flute and ambient electronic music, all fitted together to sound as a whole was the real challenge.

The Balinese gamelan only uses the pitches G, A, B & D. It was therefore important that these pitches were integral to the whole piece – a kind of building block. So we began an exploration – through improvisation, of modes.

The notes G, A, B, C#, D, E, F# & G form the Lydian mode – which is heard when the orchestra first play at the start of the piece, and is considered to be the brightest mode. By flattening different notes of the scale we arrive at different modes - G, A, B, C, D, E, F# & G is the Ionian mode; G, A, B, C, D, E, F & G – the Mixolydian etc. until we reach quite a dark modes – for example the Aeolian; G, A, Bb, C, D, Eb, F & G – but, which still retains three notes from our original Lydian mode.

 The intention was therefore that the piece starts with a bright, positive sound world – Lydian mode, and as we move through to the centre of the piece, it becomes darker. The ska band tune I love the sea is in the Aeolian mode. As we move towards the end of the story – with some form of resolution, whilst we never return to the bright and positive Lydian mode, the sound world does start to brighten as the end section inhabits the Dorian mode: G, A, Bb, C, D, E, F & G.

 Virtually all the music in Sea Woman was created out of improvisation, and made by the musicians themselves. Each group was identified with being either of the land or of the sea; the electronic ambient music represents the constantly changing landscape of the sea and the sky and the birds that live in air or sea. It will be heard before the piece starts, during the piece, and as you leave the Great Hall after the performance. The Ska Band are very much of the earth; instruments of electricity, loud sounds, repetitive and ritualistic. They identify very much with the Fisherman and his cronies the seagulls. During the performance the Sea Woman doesn't speak or sing - her emotions are represented by the flute, again improvising in different modes that relate to the emotional state of the Sea Woman. The Balinese gamelan is of the sea, whilst the orchestra is of the earth. The one group that moves between earth & sea, Fisherman & Sea Woman are the Chorus, commenting on the action, tapping stones to depict the ticking of time, singing and speaking in rhythm.

 All the groups have been involved in making their own music since March. Just recently - with a better idea of what would fit where, I have written some linking sections and some set pieces, in order to create a whole. But then I imagine that is something that all the performers will be doing - even in performance if needs must.

 Martin Read