On the Composer

By Alex Tee | Musician & Pianist | Thailand

Who or what has been the biggest influence on your musical voice as a composer?

A lot of my influence comes from the media I grew up with: games, films and animation. I am drawn to music that feels emotional and connected to a story or a world, like it belongs somewhere, rather than being in the background. 

What about me?

(laughs) For those who might not know, I first met Alex through our school's piano club, and at that time, I was still new to the piano and composition. Alex shared techniques and new approaches to the piano, and more importantly, he encouraged me to keep practicing and explore my ideas. We ended up performing quite regularly, and my favourite moments were our improvisation sessions, which was always a joy to participate in. We should perform again sometime!

What is your composing process, and how did you apply it inthis project?

My composing process starts with whatever feels right for a scene or story, whether it is a melody that comes to mind, or a certain emotional direction I want to achieve. From there, I refine the details and explore alternatives, like ‘what if the phrase was played differently’ or ‘what if the harmonies changed here’.

For “Of Fleeting Worlds: For the Dawn”, I took a more narrative-driven approach. I wrote out the emotional arcs and significant points of Zinnia's story, and wrote the music based on how each section should feel. When I got stuck, I tried to understand the meaning behind certain sounds or motifs, and how they could connect to other parts of the music. That helped me to keep everything cohesive, and reflect the important aspects of Zinnia's journey and world musically.

Do your themes evolve alongside the narrative, or did you take a more atmospheric or organic approach?

In the end, the themes evolved alongside the narrative. Usually, I start with the main theme and write the music around it, but this time it happened a bit differently. The main theme gradually emerged from the other movements, which I found quite satisfying. It was like discovering something that was already there, bringing all my ideas together like a nice gathering of friends.

What is your composing and recording environment, and how does it influence your work?

It's quite flexible. I can work almost everywhere, whether I'm alone or with friends, though it's often with friends around. Most of them are casual listeners, so their reactions to my music are quite honest. Sometimes I'll play something out loud or hum an idea, and if someone responds well to it, I take that as a good sign and develop it further. I think that kind of environment keeps me grounded, and allows me to write music that connects with people naturally, instead of focusing too much on the technicalities of composing.

How would you describe your sound palette for this project, and what has led you to it?

I'd describe the sound palette as a blend of cinematic and game-inspired elements, something a bit meditative, ethereal and reflective. I was aiming for a sound that feels nostalgic and fleeting but still leaves a strong and lasting impression. A lot of that came from the narrative. I wanted the music to feel like a memory, something distant and fragile, but still meaningful and recognisable. That idea guided the choices I made in terms of texture, harmony, arrangement, and instrumentation.

Did you intentionally incorporate local or cultural musical elements into your music?

For “Of Fleeting Worlds: For the Dawn”, not intentionally, no. I did have a particular aesthetic in mind, and if anything comes across as cultural, I think it's a natural result of that rather than something I specifically included. 

Who are some key collaborators you worked with, and how did they contribute to the project?

I had the chance to work with amazing musicians, designers, and artists. The musicians brought a lot of expression to the music, and gave me some advice on some aspects of the arrangements. The designers and artists helped with bringing Zinnia's story to life visually, bringing everything across as a complete experience.

Their contributions really elevated this project, and I really appreciate everyone who has worked on “Of Fleeting Worlds: For the Dawn”.

What were some of the first reactions from friends when they first heard the main theme?

They were very excited and enthusiastic, and some of them even tried to sing along, which I took as a good sign. One of them said they got goosebumps, and it felt like watching a movie! My friends didn't mind hearing it more than once, so I felt like the main theme achieved what I had hoped for. I hope you'll enjoy the live version of the main theme when it's performed too!

How do you feel on stage when you perform?

I do my best to perform an instrument or conduct in all the pieces I write or arrange, and I do get nervous. Sometimes that makes me feel like I might make a mistake, but at the same time, I really enjoy being on stage. There's a certain energy to it that makes the experience meaningful, even with the nerves. 

What was the most challenging piece of feedback you received, and how did you respond to it?

I received some interesting feedback on some movements from friends who are really serious about music. 

One of them told me that Movement II felt the weakest: it was catchy, but did not leave much of an emotional impression. At the same time, when I shared it with test listeners, they described the piece as bittersweet, which was exactly what I was aiming for. So I thought, ‘Ah, maybe my friend wasn't in the right mood that day’, and decided to keep it in and re-orchestrate it instead, although it did make me more aware of how the emotions within music can be perceived differently. 

For Movement IV, another friend said it sounded ‘corny’, overly organised, and maybe missing a strong melodic line for the second section. I hadn't finished writing the piece at that time, so I made sure to write the rest of the piece while paying attention to those points.

The most surprising feedback was the first section of the main theme, where a friend said they couldn't envision the intended scene to the music, and I think I shouted ‘Oh no!’ when I received it. I tend to imagine where a certain piece of music would play in a scene when I write, so I went back and reworked it to its current form.

In the end, I think those comments helped me listen more carefully in my work. Even if I don't fully change everything, I try to understand why someone feels a certain way, and that usually leads to a better result.

Were there any pieces or ideas that did not make it into the final program?

There was a piece titled “For the Wind and the Memory of Zinnias” and a few other sketches that would have added more to Zinnia's world and story. I left them out due to time constraints, which meant prioritising the core ideas I want to express, so some transitions or sections are more concise and slightly compressed. However, I am hoping to release a fuller version after this performance, so do keep a look out for them!

Now that “Of Fleeting Worlds: For the Dawn” is complete, who would you like to acknowledge or thank?

I'd really like to thank my friends and the test audiences that took the time to listen and share their thoughts on the music. Their thoughts have brought the music to where it is today, and I am very grateful for that. And of course, everyone listed in the acknowledgements and special thanks for supporting me along the way, and you!

How has this project shaped your direction as a composer and writer, and what is next?

I think “Of Fleeting Worlds: For the Dawn” reminded me to have more fun with what I'm doing, enjoy the process, and don't worry too much about certain details. I was working on it pretty late into the night, so taking more breaks and resting too.

This project has also helped me find a balance between different opinions and what I actually want to write, and it always feels great to create something that I am proud of, and something that is enjoyable to everyone.

As for what's next, I'll probably keep exploring and expanding Zinnia's world and the rest of the collection, or venture into something new!