10 Oct 2020, 2:06 am
15 Oct 2020, 4:22 am
Most film composers and foley artists do not think of the sound object first, but rather on what emotion they would like to convey in a said scene (in a sense what they'd want the consumer to feel), and also how the music they'd write for it interact with what's happening on the screen at the same time. So while watching the scene you're composing for, try to think about the following:
* melodic/lead vs. ambient score - would a music with a catchy or melodic 'lick' be too distracting from the actual movie at this point? is there a buildup ? a climax? an anticipation?Also - sometimes - silence works best and pausas are part of the music.
Another technique you could use is to associate a musical motive with an appearance of a character or a recurring event (such as a phrase or a cue sounding whenever another murder is about to happen) - what's called a leifmotif
*instrumentation in general including the use of 'niche' instruments is going to convey whatever emotions that are already pre conditioned to the crowd beforehand during various past encounters with pop culture. so... a pan flute for example can be made to "sound" like anything depending on the context used in composition and instrumentation: it could depict so many ideas and emotions!
I'd advise you to go for it and experiment with whatever comes to mind. You can always switch an instrument in favor of another or rewrite the part. Worst case scenario you find that it works 
good luck
AnonymousAnonymous
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20 Oct 2020, 6:32 pm
20 Oct 2020, 7:31 pm
20 Oct 2020, 7:42 pm
My thoughts are:
Enough different instruments are worldwide enough now the the majority of the public will be unlikely to find use of any given instrument to be odd.
And then, plugging pan flute Canada in to Google just to see what happened got the following, so I'd say that, yes, use of pan flute in a movie score for Canada scene is legit!
(bold added by me)
for over 20 years. He studied in Canada, the US, and Europe and has performed at over 500 events.
Canadian musician Kevin Budd has specialized in the pan flute as both a composer and performer for over two decades. A consummate wind musician, he also plays transverse flute, and recorder.
About his CD, he writes, "beyond the association of inhalation which is integral to a wind player, Deep suggests an emotional profundity, while Breath refers to the spirit. These songs are my ‘deep breath,’ an expression of profundity and intimacy in sound.”
An ancient instrument, the pan flute is used, in some form, throughout much of the world. According to Greek myth, it was invented by the god Pan as an instrument of consolation. The Romanian-style pan flute or nai played here has a single line of bamboo tubes which produce an extraordinarily clear, natural and haunting sound.
Kevin Budd is North America’s most renowned builder of professional pan flutes. He has taught at the Arosa Music Festival in Switzerland, performed as a soloist with regional orchestras, and has played for movie soundtracks, commercials, and recordings.
Mr. Budd has brought together the international pan flute community with the first Internet web page devoted to the instrument, and its first Internet-based discussion group, Pan Flute World. Kevin is currently purusing a Doctorate in Ehtnomusicology.
Kevin lives in Toronto, Canada, and is available to perform for special events. His lovely sound adds a unique, lovely ambience that is very memorable.
And though a different type of flute,
Indigenous North American flutist, Tony Duncan, will be playing alongside Nelly Furtado during a performance of Canada's national anthem. During the duo's rendition of O Canada, a hometown flute, made by Saskatoon's Richard Dubé, will be played by Duncan.
...
Dubé got his start making flutes in the early 2000's as an inner city school teacher at Pleasant Hill Community School. As a teaching tool, he had his students learn to make and play an indigenous version of the instrument.
"I saw that it had a really strong impact with my kids," said Dubé. "A lot of kids had a really tough shell around themselves, and the flute was something that the kids would let kind of penetrate that shell, and it would help them to connect with the best part of themselves."
"Over 96 per cent of the kids at Pleasant Hill were aboriginal, so it made a lot of sense to me to make a flute from this continent that would have a closer connection to my First Nations kids."
Dubé said the process of making the instrument took a lot of trial and error to perfect, as well as a lot of tips and advice from professional flute makers. But after about 15 years of crafting, it's really paying off.
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