Monday February 17

Composing for hire remains a novel pursuit for me. I enjoy the challenge, but do it so rarely that I have to fight against my deep-rooted tendencies. I tend to overcomplicate things. Even when I'm writing instrumental music, I'm thinking about the overall structure and pacing of the arrangement, treating it more like a song than the mood-setting backdrop it sometimes needs to be. This piece I'm currently working on should flow unobtrusively behind a voice-over, but I'm struggling to keep it simple. 

Repetition with very subtle dynamic shifts is what's called for, but I keep inserting rests, a bridge, and dynamic dips and swells. The first version I submitted had all those things and when I watched the rough cut, I was a little embarrassed; the piece itself is nice, but the extra parts felt obtrusive and showy. I then tried a version with a shorter rest and truncated bridge and it played a little better on the fine cut, but still wasn't right. 

This morning I spend a couple hours on an edit that removes all chord changes outside the primary loop, but still has a sort of "bridge" moment about two-thirds of the way through. Why don’t I have it in my to kill that bridge? It’s not a pop song.