Before I started composing Clouds and a Raindrop, I contemplated and observed clouds and rain in different regions. Then I decided to use the combination of contrapuntal and textural ideas to describe the figure of cloud, which implied that the image was a shape or association from the cloud and which one can clearly see from the scene, but would very shortly blur and disappear. To transform this impression into music, I used a pitched fugue in the string instruments, woodwinds, and horn, using an extremely soft expression, overlapped with textural sounds in sustained instruments, such as piano and vibraphone and other percussions. Occasionally, some clear pitches and rhythmic ideas were exposed, but soon they were flooded into the cloud sound. I also created rhythmic and powerful movements along with the soft and grainy ideas in this piece in order to describe different scenes of raindrop.
I also attempted to compose part of Clouds and a Raindrop in a fresh approach by using aesthetics. For instance, I was inspired by one of my favorite composers Allain Gaussin. He often would depict a large-scale graphic, involving lines, layers, and dots before he started to compose. After he adjusted the graphic to a perfect look, he transferred these graphics into his music score, represented in almost the same adjustment. He thought that this kind of aesthetic value could be transformed in between visual art and sound effect. I adjusted the score in terms of visual effect at measure 47 to 50 (rehearsal letter D), in order to give it a good and unique look. The sound effect has also significantly evolved during this process.