‘Sound of Space’ is my media piece which explores the aesthetics of certain scenes and objects. There isn’t so much a plot or interesting concept so I chose to create a more unique film score. Listening, you’ll find that at each new shot in the film the chord and overall feel of the music changes slightly. For scenes with a similar image or idea, such as the image of water or the outside scene, I have used the same chord. The melody of the piece is also somewhat reflected in similar scenes, although this was more done unintentionally through the nature in which the piece was written.

I chose to create my entire piece on logic as it was, from what I could tell at the time, the easiest medium to work with both visual and audio. This allowed me to view the video and create a piece at the rate at which I saw it, creating first the rhythm of the Celesta and Vibraphone and then writing the melody. The only thing not done this way, was the choice of chords which I planned out based upon, as said before, scenes of similar images and concepts. It would be a stretch to call myself anything of a pianist, so much of my work has been heavily cut, rewritten and edited from the original cuts. Bearing this in mind, the first thing I did when I received the video was split it at each change of shot, which allowed me to pinpoint each chord change and with the loop on, record and rerecord the melody as I saw fit.

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The idea of my piece was to flow while still having quite dramatic changes, to not only work with a very simple video but add to it. As the film is simplistic, I wanted the music to add a bit more excitement, have the piece as a whole flow with smooth and simple chord changes and rhythmic patterns, but have a unique and constantly changing Melody. In this case my poor improvisation skills enhanced my piece as I was forced into a method of creation that didn’t cause me to dwell on the previous scene and be so critical of how well it flowed. I did however still have the ability to add in extra notes and fix things that sounded poorly out of place. It is through this method that I added in extra chords for the harp and solved any mistakes. In terms of editing, I felt the raw feeling of slightly off beat notes, overlapping of irregular notes and general random note placements added to the more abstract film and delicate vintage scenes. The selection of instruments was, I felt, unique and strangely befitting to the film. I began with the gentle, twinkling of the celesta adding the vibraphone to give it a bit more support and the Harp to create a delicate but less common sounding melody with which the main feeling of the scenes is portrayed. The feeling of the piece could be likened to some of the works of Herve Lavandier, the composer for shows such as the Miniscule series. A good example can be his piece ‘Picnic’ or the theme song to Miniscule, albeit the second one has a heavier feel.

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While I found film score writing a fun and new experience I did encounter several problems, namely working with a different medium on logic and learning how to export the film in its entirety. Surprisingly, and much to my own pleasure, most of the melodies matched up well with the scenes within my first recording, some examples being the rain falling at the end, the bird flying behind the wall and the movement of the camera around the glasses.