Exploring the Creative Journey of Piano Composition
May 6, 2025
One of the most rewarding aspects of piano playing is tackling a new score and hearing the music take shape bit by bit. The process of mastering challenging sections, voicing chords, synchronizing fingering and rhythms, and balancing phrases culminate in embodying the emotions and artistry of the score. While pianists are adept at expressing the emotional nuances on the page, composers are the architects who make music out of thin air to create a harmonious whole guiding the listener towards a range of emotions. The art of composing requires a combination of understanding musical structure, a willingness to be playful, and creative flexibility.
Recently, I sat down with one of my adult piano students, Richard Christner, who shared with me his journey towards composing his own music and how this impacts his piano studies. As Rich explained, “composing has taught me to appreciate the incredible artistry and thought that goes into every piece of music. That deeper connection has made both studying and performing more fulfilling.”
Tamara: What sparked your interest in music composition?
Rich: Although I never had formal piano lessons in my youth, I always felt a strong pull to sit down at any piano I came across and just play. Sometimes I would try to pick out familiar songs or simply play notes that sounded good to me. Even at the age of twelve, I always knew I wanted to create my own music, but the idea of composing felt out of reach.
Tamara: How and when did you first approach composing?
Rich: About twenty years ago when computers with music composition programs became available. Once that door opened, I jumped at the opportunity. My first experience with creating music digitally was with GarageBand on MacIntosh. After that, I found software for writing down music in notation form. Eventually I upgraded from GarageBand to Apple’s Logic program for music production, which provides realistic orchestral sounds.
Tamara: What’s your process for creating a new composition?
Rich: Most of the time, my process begins by improvising at the piano, playing around with bits of melodic and harmonic ideas until something starts to take shape. Once I have some basic material I like, I move those to the computer to develop a fuller structure and begin orchestrating—expanding the piece beyond the piano and into a broader instrumental setting.
Tamara: How does learning to play piano and music listening influence your work as a composer?
Rich: Learning to play has helped me become a better composer. Each piece of music I study teaches me something new to carry over into my work such as new accompaniment, chords, and harmony patterns. Listening to music plays a big role in my composing. Especially giving me inspiration for different “vibes” I can aim for in my writing.
Tamara: Who are some of the composers that inspire your work?
Rich: A lot of my inspiration comes from contemporary composers with a classical legacy. I especially enjoy the orchestral styles of Thomas Bergersen (Two Steps from Hell) and Paul Dinletir (Audiomachine) as well as film composers Danny Elfman and Ramin Djawadi. I also love the work of Japanese media composers like Nobuo Uematsu’s Final Fantasy music, and Joe Hisaishi’s Studio Ghibli scores.
Tamara: How has composing music changed the way you approach learning the piano or studying the piano?
Rich: For me, composing and studying piano have gone hand in hand. As I’ve grown as a composer, the music theory and creative thinking I’ve developed have completely changed the way I approach learning new pieces. I now find myself looking beyond just the notes and rhythms, trying to understand the deeper intentions behind the music. It’s made learning new pieces feel more intuitive and meaningful, and it’s given me a stronger sense of what to bring out in my playing. More than anything, composing has taught me to appreciate the incredible artistry and thought that goes into every piece of music—and that deeper connection has made both studying and performing more fulfilling.
Tamara: What advice do you have anyone who wants to begin composing?
Rich: My advice would be to sit down at the piano and improvise, tinker around and listen to what sounds good. From there you can move to creating your own music digitally while learning and applying music theory skills.
Tamara: Tell us about the Composer’s Society of Maryland and the opportunities available to either compose or perform.
Rich: The Composer’s Society of Montgomery County is an organization made up of local composers from a variety of backgrounds. The Society hosts two to three concerts each year, providing members with the opportunity to have their works performed and heard. Most of the pieces are written for soloists or small ensembles and are typically performed by volunteers. Membership is open to composers of all levels and genres. If you’re interested in learning more, joining, or volunteering to perform, feel free to reach out to me!
Tamara: When can we hear you play and perform your next composition?
Rich: I will be performing a piece I wrote for piano in an upcoming Composer’s Society concert in May.
Tamara: Can you tell us a bit about the piece?
Rich: The piece I’ll be performing is called “Valeria in the Atrium of Time,” inspired by a scene in the novel series “Book of the New Sun” by Gene Wolfe, one of my favorite reads. It has a melancholy and wistful mood that reflects the sense of longing for the past.
The Spring 2025 concert of the Composer’s Society of Montgomery County (CSMC) will be held on Sunday, May 18, 2025 at 7:00 p.m. at the Calvary Lutheran Church, 9545 Georgia Avenue, Silver Spring, Maryland.
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