it’s me again. I hope you guys are doing well and you had a great and productive week!
I definitely had, so now I can share my score to the Westworld Scoring Contest hold by Spitfire Audio.
I already have shared some insights into my project, although only theory. But now I can show you some more practical stuff, as I finally finished composing this huge scene. In the end, I had well over 100 tracks in the mixing stage, so I had to start focusing on the important things & instruments. I know that I could spend far more time finalizing this cue, however, if you know the 80/20 rule by now, at some point you ask yourself if you really need to spend more time “improving” something.
I do believe that I could do far more detailed things, but yet again, if you are really satisfied with your 80%, it’s totally fine for me, as my personal 80% are already kind of “picky”, meaning that even if I am not finished to 100%, I don’t need to feel embarrassed or uncomfortable even in front of other professionals.
I still think that I did more than 80% because I have spend 7 days on that one. I know that there are people who have spent only 2 days, however, it really depends on your music choice (how complex your score and orchestration is) and of course how fast your workflow in general is.
For my orchestration, I have chosen to do something hybrid, so I have used the orchestra as my guidance (rhythm section) and in between, I have added sound design elements like risers, hits & whooshes to support the orchestral elements.
Indeed I had to readjust the tempo in the middle of the score, so my current timeline doesn’t look the same as I have shared in my article, however, it still feels the same, and there is not a lot of difference compared the original one. I am talking about the scene before she gives him the gun (view going into the car), and I wanted to speed up the music a little bit before so, it really ends with his head going down.
Again, sometimes you need to adjust the tempo, and sometimes you need to adjust the bars. And sometimes you need to do both, whatever works best for you and makes musical sense.
Harmonically the cue is kind of special, as I didn’t change the tonality all the time. I stuck with F Phrygian, meaning in most cases I have used these notes:
F - Gb - Ab - Bb - C - Db - Eb - (F)
If you ask me why I have used this scale, I would say this:
When you have a key that has a lower 2nd in it, you already create “tension”. And if you even have a second halftone step after it (lower sixth), you create even more tension. If you play phrygian-mode, you already create darkness in a kind of sense, I guess it makes sense, as the scene is dark, chaotic and violent. So why not take advantage of that mode?
If you have more questions, drop them here. I’ll be happy to answer them for you!
PS: Yeah, yeah, the thumbnail is click-baity, but whatever, as long as people get what they have asked for, why not Enjoy guys! I mean, I hope you will