In the days following the successful release of Melodies of Rain, Alex, Peter, and Samuel decided to sit down and reflect on their creative process, particularly the choice and utilization of instruments in each piece. They gathered in the lounge of their laboratory, encircled by the instruments and equipment they had used, alongside several newspapers featuring reviews of their musical works.
"I've been pondering," Alex said, his gaze sweeping across each face, "how we selected these instruments to express the sounds of nature. Each instrument seems to carry its own story."
Samuel nodded, picking up a bamboo flute from the table. "For instance, in The Symphony of Nature, this flute is vital to the entire composition. You know, I chose the bamboo flute because its timbre is closest to the sound of birdsong—clear and pure, as if it were drawn directly from the heart of nature."
"Indeed, the sound of the bamboo flute lends a sense of lightness to that piece," Peter interjected. "Its combination with the other instruments is exquisite, especially with the violin. I remember during the recording, when your flute melody emerged, the entire atmosphere of the music transformed."
Alex nodded in agreement. "Exactly, the high notes of the violin perfectly caught the melody of the bamboo flute, like seabirds gliding over the ocean surface. That change in timbre naturally guided the audience into an expansive state of mind."
"Speaking of the violin," Samuel continued, "it wasn't merely to mimic the calls of seabirds; I also employed the cello to convey the depth of the waves. Do you remember? When we recorded the cello part, I tried to draw the bow more slowly and powerfully, as if the waves were gently approaching the shore, imparting a sense of tranquility imbued with strength."
"I recall that," Peter smiled, adding, "that segment truly evoked the ocean's profundity. I felt as if I could hear the sea flowing beneath our feet."
Alex reminisced about the audience's reaction to that segment of music. "I remember after the premiere of The Symphony of Nature, some audience members mentioned that when they heard the cello, it was as if they could see the waves shimmering in the sunlight. This fusion of visual and auditory experiences truly brought the music to life."
"And then there were the sounds of insects," Samuel continued. "We used percussion instruments to capture that rhythmic essence. I believe the snare drum and maracas really infused that section with vitality. Did you notice how that rhythm resonated with the audience? It seemed to infect them with its persistent beat."
Peter chuckled, "Indeed, some even said that segment reminded them of summer nights, filled with the chirping of insects, as if the entire world was breathing along with them."
Alex looked around at the instruments on the table, lost in thought. "Our choice of instruments is indeed crucial; they are not merely vessels for notes but rather the language of nature. Through these instruments, the audience can truly feel the emotions we wish to convey."
"Do you remember Melodies of Rain?" Samuel shifted the topic. "That concert was exceptionally special. I particularly loved the piano's role, especially in the part that mimicked the gentle patter of raindrops. What techniques did we use to make the piano sound so crisp and soft?"
"I recall we used rapid strikes with both hands on single notes in the higher register," Peter reminisced. "This method simulated the sound of raindrops hitting various surfaces—sometimes a gentle trickle, other times a sharp patter on leaves. The audience said that segment made them feel as if they were strolling in the rain, enveloped in tranquility."
"Indeed, the piano truly breathed new life into the sound of rain," Alex added. "And not just the gentle rain; we also handled the stormy sections remarkably well. Do you remember the design of that drumbeat? We used the bass drum to mimic the sound of thunder, which really gave the music a powerful impact."
"Absolutely!" Samuel exclaimed. "The deep thud of the bass drum indeed simulated the resonating force of thunder. After the performance, audience members told me that at that moment, they felt as if the thunder was rumbling right above their heads, creating a strong sense of immersion."
"And then there was the harp," Peter took over, "in that serene post-rain segment, the gentle timbre of the harp truly conveyed a sense of peace, as if the sky was gradually clearing after the rain, everything becoming fresh again."
"Yes, the harp's tone blended beautifully with the tranquility after the rain," Alex responded. "I remember one audience member mentioned that the sound of the harp reminded them of morning dew, especially with the addition of the Māori xylophone, which infused the music with a deeper cultural resonance."
"The sound of the Māori xylophone indeed enriched that segment of music," Samuel added. "Its tone is deep and distant, as if conversing with the earth. I believe this choice was very wise; it gave the music a soul and allowed the listeners to feel an ancient power."
Alex nodded, reflecting for a moment before speaking. "This discussion has made me realize that instruments are not merely tools for sound; they are bridges for dialogue between us, nature, and the audience. In our future compositions, we can continue to explore the potential of each instrument, blending various cultures and natural sounds to create even richer musical works."
Peter and Samuel both expressed their agreement, suggesting that in their upcoming musical endeavors, they should continue to explore the combination of more natural sounds with instruments, particularly those traditional instruments that had yet to be widely utilized.