MD5317: ‘Restrict’ storyboard

Below is the photo of the storyboard I used to start forming ideas for my composition.



MD5317: Audio Visual Composition ‘Alone’

Task: Create your own brief for an audio-visual artwork based around the given concept. The concept is ‘OBSERVE’

Brief: Create an audio-visual composition observing the concept of loneliness. Contrast the beauty of silence, solitude and intrigue, with the ever so real, depressing feeling of being alone.

Below is my final audio-visual composition:

  • Video footage not my own. All footage sourced from
  • Music: Composed myself


MD5317: Music for Moving Image Critical Evaluation

Commercial Project Brief: ‘Restrict’

I chose to work on the soundtrack for the film ‘Restrict’ as I felt there was a lot of room to be creative with found sounds and unconventional methods of composing music. Before starting my composition, I watched through the film, noting down considerable moments and stimulus using a storyboard. This helped me visualise where the areas of light and shade were going to be within my composition.

For the first chunk of the composition (00:00 – 04:21) I wanted there to be layers of manipulated vocal sounds and instruments with a lot of reverb to represent the dark environment the girl found herself in. This would then contrast with the dryer sounds in the bathroom scene (04:21 – 07:22) to reflect the shift in environment, back into reality.

I started the composition with a stream of white noise which would lay underneath the other instrumentation up until 04:21 and the shift in environment. This was to create an underlying tension and for moments of space in the composition, there was still a quiet sound running through which helped the various instrumentation work more coherently.

Electric piano and cello were the two instruments I chose to create a motif for the film. I wanted this motif to have a minor feel as naturally we equate minor sounds with more emotion and sadness. One piece of music that inspired the theme of my composition and utilises similar instrumentation to build suspense is in Our Girl (Wheeler, 2017).

The vibrato of the low cello sound also helped achieve a build in tension and I added reverb and a tremolo effect onto the electric piano to create an unnerving, quivering sound. This was to appear at the beginning of the composition and then appear again towards the end as the girl was about to take her life to create a strong narrative to the composition.

Throughout the composition I used various techniques to create the Foley, for example, using the voice recorder on my phone to create a crying sound and recording myself dropping pebbles on the floor to recreate the sound of the pills in the bathroom. As we received the film with no audio and therefore no diegetic sound, I felt these Foley sounds would be some of the most important elements to elevate the composition into being more impactful, effective and real.

To replicate the sound of a heartbeat throughout the piece, I used various bass sounds such as a kick drum and pitched down vocal synth sample. I didn’t want it to exactly replicate the girl’s heartbeat, but I wanted to add a more human element into the piece.

Within the film there were areas of transition which were important to mark with significant sounds or changes in the music to build excitement and tension and to resemble the movement of the visual. For example, I used some warped vocal synth samples to portray the movement of the light in the dark room. I also wanted to emphasise the dramatic shift in the film when another character appears (02:51) using a high pitched ‘horror’ sound similar to the famous Psycho shower scene sound (1).

If I had more time to work on this composition, I would have utilised live recording more for achieving some eerie layered vocal harmonies to make a more continuous sound from 01:19 to 04:22. I would also take more time over the Foley sounds, experimenting more with found sounds and making sure they were more in sync with the visual.


Audio Visual Composition: ‘Alone’

The main inspiration for my audio visual composition, was the concept of loneliness. I wanted to explore and contrast the differences of enjoying times of solitude, with the depressing feeling of being lonely.

When creating the video for this brief, I was inspired by the documentaries and short fundraising films large charities release in order to fundraise and gain attention for their cause. The instrumentation is mostly very simple, following repetitive sad melodies (2) and any empathy or sadness created by the visual is only emphasised further by the use of certain instrumentation. I knew this was going to be a simple piece of music, where silence would be utilised.

I chose the tempo of 94bmp in response to the slow moving visuals in my video. I started the piece by playing some piano with light reverb on and soon decided this was going to be the only instrument. I felt this was quite a bold move, but intrigues the audience into paying more attention to the visuals.

I wanted my music to naturally respond to the visual so I recorded a few takes of me improvising along to the visual without planning. I felt this was more successful than meticulously planning and overcomplicating things as it meant I was putting more emotion into what I was playing.

Inspired by Einaudi’s ‘Nuvole Bianche’ (3), to start my piece, on the left hand I alternated between simple chords F and C, whilst on the right hand, I created a repetitive melody from just three notes, C, G and F.  As I progressed further, I used chords such as Fmaj9 and Fmaj13 as a basis for my improvisation to elaborate on the initial melody and provoke a deeper sadness through some of the higher notes.

For the last 8 bars, I used the Am (left hand) to start a descending chord progression which would end on the F chord and purposefully not resolve back to the key root chord (C) to leave the audience in a place of reflection.

I also wanted to use varying octaves for different sections of the composition. I naturally started the piece using the higher octaves of the piano and as the piece progressed, I added more depth and strength to the piece by using some of the lower octaves in the left hand. I stopped using the lower octaves when I got to the ending of the piece where I used the same range of the piano I had at the beginning to bring continuity and prepare the audience for the end of the film.

I had thought about writing a spoken word to compliment the piano, however, my main focus was to let the visuals speak for themselves and leave a sense of mystery for the audience so they could interpret the short film in whatever way they wanted.

I would definitely record the piano live if I had more time, to achieve a much stronger, fuller sound, especially as it’s the only instrument in the composition.






MD5311: Post 10 – Final Tracks

Below is the first track of my EP ‘BREATHE’. I wrote and produced this myself.

When listening back to my final bounce, there was a glitch that kept happening with two of my samples towards the last section of the song. I tried a few different things to iron this out, but due to the time constraints, I was unable to do anything else. With more time I would definitely fix these issues as they are not intended to be there.

The second track of my EP is titled ‘TRUTH’. I wrote and produced this myself also.

MD5311: Post 9 – EP Audience & Market Research

Evaluation of Research

Having finished my two tracks for my EP, I do not feel ready to take many of the steps I discussed throughout my research. I don’t feel like the tracks are of a high enough standard yet and I wouldn’t feel confident establishing myself as an artist with these two tracks as my debut.

I like the work I have produced and am proud of it, however, I would want to go to a professional to re-mix/master them to give me the best possible shot at building a large fan base. I think the quality of the track needs to be the main focus as it should be able to speak for itself when its released.

Before taking any more steps, I want to create a brand for myself as an artist and implement this across my social media platforms. I will start to share these with friends and my potential audiences I spoke about earlier. I will tease snippets of a ‘debut single’ and post engaging photos and videos about the creative process. This will then give me a better platform for a debut EP (with 4-5 tracks) to be received well.

I had planned to produce two more songs than I had, but due to time constraints and some other difficulties, I decided to focus on two. However, I think an EP would need those extra two.

I will also get in touch with websites such as The Good Christian Music Blog and once I’ve got some examples of my music on social media, I will follow a lot of these labels, blogs, websites etc on their social media platforms to start advertising myself.

I don’t think it’s worth rushing these starting steps as an artist as first impression really do count and they last. With so much music out there, I want my music to stand out and so it needs to be high quality.

MD5311: Post 8 – EP Audience & Market Research


Although YouTube is a successful way some artists share their music, it wouldn’t be a large focus of mine at the moment. There are many Christian music YouTube channels, however, the vast majority of them only share the large already established Christian artists, such as Bethel, Hillsong or Jesus Culture.

The most successful songs on YouTube secular or Christian, also have well produced videos behind them. As I am just starting out as an artist, I want my focus to be on my tracks, rather than feeling like I also have to produce a high quality video as well. This isn’t something I would rule out when I am more established as an artist and I think lyric videos can be hugely successful too!

Below are a list of some YouTube channels currently promoting and sharing contemporary Christian music:

Large YouTube Channels (>100k )

  • Hillsong Young and Free – 891,082 subscribers
  • Capital Kings – 205,791 subscribers
  • Integrity Music – 225, 382 subsribers

Medium YouTube Channels (10k to 100k)

  • Christian Music Daily – 43,817 subscribers
  • Soul Survivor – 12,890 subscribers
  • Gospel Hydration – 30,007 subscribers
  • BLSSD Music – 15,957 subscribers
  • Cross Nation – 53, 226 subscribers
  • Rivers and Robots – 35,879 subscribers

Small YouTube Channels (<10k)

  • Bespoke Records – 114 subscribers
  • MDSN – 1,129 subscribers (Artist)
  • Set Sail


MD5311: Post 7 – EP Audience & Market Research


Spotify would be a great place for me to have my music, as there are already a lot of other artists in the genre my music would fall into. There are also features like ‘Related Artists’ and playlists which would help me start to form connections with other artists listeners. Below is a list of potential Spotify playlists where I could try and feature my music:


  • Indie Worship Playlist – 120,066 followers



  • Fresh Finds: Poptronix – 55,487 followers


Good Christian Music Blog

  • Top Picks Playlist – 15,791 followers
  • ‘A carefully curated playlist, made up of songs featured on our YouTube channel, new releases, fresh finds, plus a few older classics! Updated weekly.’


Lifter today

‘Your one-stop-shop for the newest releases in CCM, Worship, Gospel, Rock & Hip Hop!

  • New Music Today Playlist – 10,336 followers

Spotify will be my main focus when it comes to streaming my music. I believe it’s the most popular and accessible platform for my target audience (teens/students/young adults). I would want to create an eye catching artist profile and keep my presence known by following other similar artists to me such as:

Kat Kunning – 8,503 monthly listeners

Megan Lara Mae – 11,849 monthly listeners

RoyC3 – 15,823 monthly listeners

To initially get my music on Spotify, I would go through an aggregator such as Awal or CD Baby who could deliver my music and collect any royalities for me.

The main playlist I would try and get my music on, is ‘Top Picks’ by The Good Christian Music blog, as it’s an accessible goal, but with a large following. I would do this the way I discussed earlier, through their website.

For playlists curated by Spotify such as ‘Poptronix’, there’s no formal submission process and so I just need to make my tracks as visible as possible, sharing in other ways to help my track appear on the radar.