Why I Love Orchestral Bowed Strings and Use Them All The Time (with LOADS of Musical Examples)

Strings Are Awesome - josep molina secall black violin on underwater for unsplash
I LOVE ORCHESTRAL STRINGS. They are my fave section of the classical orchestra (followed closely by the brass and horns). They're just SO VERSATILE - there are so many different techniques and tone colours you can make with string instruments, which means that their emotional range (I would argue) is enormous. This makes them, without …

Composing for theatre is the same as composing for games: The Techniques (part 4) – Horizontal Resequencing

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This is the final part in a five part series on the similarities in challenges faced by composers of both games and theatre, and the similar evolution of their solutions. In the first post I talked about those challenges brought about by the live and interactive nature of theatre and games, respectively: timings change, and …

Composing for theatre is the same as composing for games: The Techniques (part 3) – Vertical Layering

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This is part 4 in a five part series on the similarities in challenges faced by composers of both games and theatre, and the similar evolution of their solutions. In the first post I talked about those challenges brought about by the live and interactive nature of theatre and games, respectively: timings change, and are …

Composing for theatre is the same as composing for games: The Techniques (part 2)

sounddesk and QLab
There's a great deal of overlap between the techniques of scoring theatre and games. In the first post of this series, I talked about the practical similarities between these two platforms: of writing music to accompany and synchronise with events that are unlikely to happen at the same time each time they are performed, be …

Composing for theatre is the same as composing for games: The Techniques (part 1)

HF-Cam-IMG-6533
There's a great deal of overlap between the techniques of scoring theatre and games. In my last post, I talked about the practical similarities between these two platforms: of writing music to accompany and synchronise with events that are unlikely to happen at the same time each time they are performed, be that onstage or …

Composing for theatre is the same as composing for games (mostly)

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There's a great deal of overlap between the techniques of scoring theatre and games (I'd argue that there's a blurring of boundaries between the two media that happens when you get into immersive and interactive theatre, but that discussion is for another day). The fluidity of durations in both theatre and games creates the same …

CLARITY IS KEY. You can’t get what you want if you don’t know what it is that you want in the first place.

Handwritten music manuscript

What story do you want to tell? How do you want to feel? I made a really useful little pdf, a guide to helping directors get really clear when they brief* their music composers. Download The Composer's Brief pdf here. It includes all the practical, useful, simple questions I always try to get answers to …

The Themes of Flood

Set from Flood Part 2 (Malcolm Johnson Photography)

Flood, a show of four parts, had four main themes. Inventing and developing themes is massively rewarding fun that you only really get to do on long projects - for example, on multi-part theatre, or feature films. It's all about exploration and trying to push the boundaries of these tiny motifs in melody, rhythm and sound design.