That’s what makes this work so interesting always, that you really need to use all your brain capacity. And you need to accumulate very much knowledge, of course, on techniques of composition, the orchestration, all kinds of things, perception concerning the form and other musical elements.1 And yet, I think that over the years a part of — at the same time when you learn things, you feed your unconsciousness. And many important decisions then come intuitively also. And in one way you need to trust your intuition, and on the other hand you need to evaluate it all the time intellectually.2


So, I think it’s all the time going back and forth, and it’s a very sensitive balance I think, because I’ve realized, for example, that at the same time when I’m composing, trying to verbalize my music, it’s not very good. It somehow makes me very conscious about — too conscious about my intuitive side, and sometimes it really creates blocks. So, that’s one reason that I didn’t write very much for a long time really, analytical texts about my music, because simply I have been composing so much nearly all the time.

  1. All Happening Parallel, Learn Techniques []
  2. Kermit Lynch []
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