- Collecting data and experiment
I have first written the storyline on top of the Live set with time sections, this helped me create a clear emotional trajectory and narrative structure for the sound work. It serves as a roadmap for selecting appropriate sound effects, determining dynamic changes, and planning the progression of musical elements. The storyline helps composers visualize the emotional peaks and valleys, identify key transition points, and ensure each sound element serves a purpose in the narrative. This pre-planning process makes the composition more cohesive and emotionally impactful, rather than just a collection of sounds.
Since I have a scene in my mind, my following step was to find the corresponding instrument and sound effects. I discovered that thunder was a good field recording for me to add, this sound structure has created an environment of sadness, scared and unstable. I experimented with using sitar delay and guitar, but both of them could not blend with the recording, as well as not matching the emotions that I was trying to express, too much high frequency sounds more disturbing and excited than how depression disorder patients actually feels as we researched, I have then removed it and changed to a wave evolve pad, that fits more to a dreamy and unsafe situation.
I have also experimented with the intro, and this was communicated with my partner. She considers using electronic piano might be too industrialized and not as close to real life, since the emotions are very humanized. Maybe using real piano recording could feel vivid and form a real scene in front of the audience. After this meeting, I have reflected and improved on my work by recording with a real piano, with a real piano it did add the sense of texture and vividness. In addition, I have added in the sound effect of reverb and spectrum, that creates the distance and space of the work, which allows the audience to feel empathic with the scene, as it imitates human ear hearing and includes the audience inside of the piece.