In this new tutorial, I’ll continue on from the first part of my walkthrough and process behind providing adequate music to support the visual narrative of your project; whether it’s an indie film, feature length, or video game. Composing orchestral music that doesn’t call too much attention to itself can sometimes be a daunting task. By looking at 3 similar sections that use slightly different approaches in the orchestration, we’ll look at how you could compose the musical textures that will accompany a piece of dialogue or action, while slowly building up to big emotional hit points to reveal what could be important moments in your visual project.
The year is 2015. Two young Scandinavian creators & entrepreneurs Arn Andersson & Walid Feghali meet at a composer meet-up in Berlin. Both share the same passion for travelling the world while creating music and art, and teaching others to do the same. They also share their frustrations about the outdated creative industry…. how much time and money they’ve both spent learning how to turn their passion into a sustainable career, and how they dream of offering a modern day creative platform that doesn’t just teach text book theory.
First impressions are impulsive, decisive, unfair perhaps, yet crucial to the day-to-day decision-making that occurs behind closed doors for independent producers and directors. When they’ve set out to find a new composer, they’ve got to quickly sort from hundreds of options and create a shortlist of 4 or 5 candidates whose “sound” could be ideal for their project (that is if they don’t already have someone in mind from a previous collaboration).