Silas closed his eyes. He stopped thinking about chords and started thinking about architecture. He saw his piece not as a timeline, but as a mountain range. He realized he had placed his "summit" too early, leaving the listener with nowhere to go but down for the next four minutes.
He pulled up the Mike Verta "Structure Masterclass" he’d downloaded months ago. Mike Verta Structure Masterclass [TUTORiAL]
"Music isn't about notes," Verta’s voice crackled through the monitors, "it’s about the manipulation of expectation. If you don't know where the climax is, neither does your audience." Silas closed his eyes
The air in the studio was thick with the scent of ozone and expensive mahogany. Silas, a composer whose scores were often described as "polite," stared at the blinking cursor of his DAW. He had the melody—a soaring, lonely cello line—but the rest of his composition felt like a pile of beautiful bricks that refused to become a house. He realized he had placed his "summit" too