Ah. Ah…yes. So let me preface this by saying I routinely say I’m going to start blogging more and then I don’t and then I feel bad about it and forget my login info. But — hey I’m a busy guy so there.
IF you are the least bit curious, I’m a film composer. If you want you can follow my ramblings as I try to figure this whole thing out. Let’s get started, the topic for today: instrumentation.
There are plenty of different schools of thought on this and really, they’re all correct. Some composers really enjoy just picking what is going on in their heads at the time and making a soundtrack. Sometimes this is called “eclectic” but to me these often come out feeling very disjointed. It lacks the coherence you get from a score that’s had its instrumentation plotted out. That’s the method I prefer, a cohesive symbiotic score with a singular tone to it. This doesn’t mean I don’t throw in an occasional “guest” into the mix but overall there is an ideology present throughout the film. Here’s some examples: