Dec 4, 2018

BLOG 6: Compositional Progression: Developing the Music for Briar Rose and Cinderella


Edited: Dec 4, 2018


In blog 5 - very futuristic sounding labelling for me – I detailed my work on the music for the Musicians of Bremmen as part of Hansel, Gedeon, and the Grimms’ Wood. That’s all going a little more positively now with some fresh ideas flowing. Talking of flowing, plenty of tea and coffee helps… and I’ve also had two separate lecturers over the course of my eight years in music school (crikey) recommend drinking a bottle of wine before, after, or during composing. While I’m sure that can be really helpful for some people, I’m definitely much worse at composing, playing, juggling, walking, talking, and playing videos games after a drink. Believe me, I am studious and have tried time and time again. All for the sake of knowledge.




New Posts
  • In September I was given the opportunity to shadow David Roche as he worked with Odyssey Theatre Company in the creation of the music for their Christmas show ‘Hansel, Gedeon and the Grimms' Wood’. I joined David quite late on in the process when he had already written a lot of music, and witnessed the interaction between him and Jon the director during a few rehearsals, and the subsequent cutting, expanding and re-moulding of his soundscapes. READ MORE:
  • Following on from discussions of the basic materials and processes I use when composing music, I thought it’d be fun to cover some of the issues that tend to occur a little later in the compositional journey. Hansel, Gedeon, and the Grimms’ Wood is a long production and, so far, I have been deeply occupied with finding musical ideas that are analogous to themes and technical aspects of the show itself. Doing so will unify my music and, I really hope, strengthen the production! READ MORE:

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