Thu, 23 Apr 2026 21:22:36 +0200 https://hearthis.at/solvej-von-malmborg/ en-EN contact@hearthis.at contact@hearthis.at https://hearthis.at/solvej-von-malmborg/ https://img.hearthis.at/1/1/1/_/uploads/9318147/image_user/w1400_h1400_q70_ptrue_v2_----cropped_1594646667111.jpg no no https://hearthis.at/solvej-von-malmborg/lacrimosa/
**Solution:** I spent the morning writing the poem, rewriting it several times. When I felt it was done I started working on putting together the piece, building it from drones and vocal tracks. This is the result I had by 5 p.m. The lyrics:

Lacrimosa.
Wetting the stone with tears,
Sharpening the scythe.
Gazing into the fields
Watered with blood.
Lacrimosa.

**Learnings:** When recording in mono in Cubase, be sure that you create a mono track. Not a stereo track...]]>
**Solution:** I spent the morning writing the poem, rewriting it several times. When I felt it was done I started working on putting together the piece, building it from drones and vocal tracks. This is the result I had by 5 p.m. The lyrics:

Lacrimosa.
Wetting the stone with tears,
Sharpening the scythe.
Gazing into the fields
Watered with blood.
Lacrimosa.

**Learnings:** When recording in mono in Cubase, be sure that you create a mono track. Not a stereo track...]]> 6594491 no no Tue, 01 Mar 2022 17:20:32 +0100 2022-03-01T17:20:32+01:00 2:24 https://hearthis.at/solvej-von-malmborg/jasmine-flower/ **Solution:** I did some research, trying to find a traditional Chinese melody that is wellknown in China, and found "Mo Li Hua" (se link below). I used virtual instruments sampled from traditional Chinese instruments, combined with Western percussion, choir sounds and a synth pad.
**Learnings:** Research pays off. And it's good to have a travel size MIDI controller!

Link to the game: https://nilsinchina.itch.io/the-wonderful-adventures-of-nils-but-he-went-to-china-instead
Link to information about "Mo Li Hua": https://en.wikipedia.org/wiki/Mo_Li_Hua]]> **Solution:** I did some research, trying to find a traditional Chinese melody that is wellknown in China, and found "Mo Li Hua" (se link below). I used virtual instruments sampled from traditional Chinese instruments, combined with Western percussion, choir sounds and a synth pad.
**Learnings:** Research pays off. And it's good to have a travel size MIDI controller!

Link to the game: https://nilsinchina.itch.io/the-wonderful-adventures-of-nils-but-he-went-to-china-instead
Link to information about "Mo Li Hua": https://en.wikipedia.org/wiki/Mo_Li_Hua]]> 4949217 no no Tue, 14 Jul 2020 23:02:06 +0200 2020-07-14T23:02:06+02:00 2:19 https://hearthis.at/solvej-von-malmborg/walkwithme1/ **Solutions:** The first thing I did was to make a template in Cubase for orchestral pieces, something I have wanted to do for a long time. When I was done with this, it was lunchtime, but I just had to compose something before taking my lunch. The first step of composing this piece was to choose the title "Walk with me". The first part of the piece started with me writing the bottle-harmonies (audible in the second part of the first part). The second part is built around the melody. Now it's 8:45 and time to round up for today.
**Learnings:** I wanted the piece to be fairly simple, but it still borders on the epic. Also, I don't feel anything... music should evoke emotions, and I think I failed here. But sometimes you just have to write, to keep your composing-muscles fit enough.]]> **Solutions:** The first thing I did was to make a template in Cubase for orchestral pieces, something I have wanted to do for a long time. When I was done with this, it was lunchtime, but I just had to compose something before taking my lunch. The first step of composing this piece was to choose the title "Walk with me". The first part of the piece started with me writing the bottle-harmonies (audible in the second part of the first part). The second part is built around the melody. Now it's 8:45 and time to round up for today.
**Learnings:** I wanted the piece to be fairly simple, but it still borders on the epic. Also, I don't feel anything... music should evoke emotions, and I think I failed here. But sometimes you just have to write, to keep your composing-muscles fit enough.]]> 5213088 no no Thu, 15 Oct 2020 20:37:22 +0200 2020-10-15T20:37:22+02:00 1:37 https://hearthis.at/solvej-von-malmborg/miss-eyesore-1964-3-chased-by-miss-eyesore/ **Solution:**
The main inspirational source for this piece was the game Amnesia: The Dark Descent (mainly the piece linked below). From this I borrowed the steady pace. I wanted to make the piece atonal. Some of it consists of me playing on my controller keyboard with all of my underarms. At the time, I only had access to the school's limited instrument packs in Ableton Live 9 and Logic X. What I couldn't find in one I added in the other, exporting stems from Ableton into Logic for mixing.
**Learnings:** I had a lot of fun experimenting. Looking back, I wish I had made a sidechain for the kick-drum, and also that I hadn't used as much high-cut on it, as the kick can disappear completely depending on playback system.
I made the first half of the piece as "concept" for the chase music. It's not hard understanding the meaning of "concept art", but doing something similar with music is hard. People won't understand what it will sound like unless it actually sounds like what it's going to sound like...

Link to the game: https://snostormstudio.itch.io/miss-eyesore-1964
Link to Water monster chase music from Amnesia - The Dark Descent: https://www.youtube.com/watch?v=bkvyYD1p4Dk]]> **Solution:**
The main inspirational source for this piece was the game Amnesia: The Dark Descent (mainly the piece linked below). From this I borrowed the steady pace. I wanted to make the piece atonal. Some of it consists of me playing on my controller keyboard with all of my underarms. At the time, I only had access to the school's limited instrument packs in Ableton Live 9 and Logic X. What I couldn't find in one I added in the other, exporting stems from Ableton into Logic for mixing.
**Learnings:** I had a lot of fun experimenting. Looking back, I wish I had made a sidechain for the kick-drum, and also that I hadn't used as much high-cut on it, as the kick can disappear completely depending on playback system.
I made the first half of the piece as "concept" for the chase music. It's not hard understanding the meaning of "concept art", but doing something similar with music is hard. People won't understand what it will sound like unless it actually sounds like what it's going to sound like...

Link to the game: https://snostormstudio.itch.io/miss-eyesore-1964
Link to Water monster chase music from Amnesia - The Dark Descent: https://www.youtube.com/watch?v=bkvyYD1p4Dk]]> 4951923 no no Wed, 15 Jul 2020 23:46:15 +0200 2020-07-15T23:46:15+02:00 1:20 https://hearthis.at/solvej-von-malmborg/bogland-sunrise/ **Solution:** I used Retrologue 2. As a first step, I made a composition using only its "Init Retrologue 2"-sound - a simple sawtooth sound, enging up with a pad, an arp, and a lead. After this, I went into the synth settings and adjusted them so that each instrument got an individual sound. I also added an alternative lead sound. This was when I decided to title the piece something with "sunrise", and this guided me in the next steps: I added the whistling birds in the second part. The final step was the frog/duck-like sound in the second part. As inspiration for this, I picked a sound from the beginning of Daft Punk's "Short Circuit". After trying to mimic the sound, I added reverb so that it would blend in better, and tampered with the settings a little bit to make it sound more like an animal sound.
**Learnings:** I learned a lot about programming synthesizers such as Retrologue 2.]]> **Solution:** I used Retrologue 2. As a first step, I made a composition using only its "Init Retrologue 2"-sound - a simple sawtooth sound, enging up with a pad, an arp, and a lead. After this, I went into the synth settings and adjusted them so that each instrument got an individual sound. I also added an alternative lead sound. This was when I decided to title the piece something with "sunrise", and this guided me in the next steps: I added the whistling birds in the second part. The final step was the frog/duck-like sound in the second part. As inspiration for this, I picked a sound from the beginning of Daft Punk's "Short Circuit". After trying to mimic the sound, I added reverb so that it would blend in better, and tampered with the settings a little bit to make it sound more like an animal sound.
**Learnings:** I learned a lot about programming synthesizers such as Retrologue 2.]]> 5052877 no no Thu, 20 Aug 2020 19:22:37 +0200 2020-08-20T19:22:37+02:00 2:20 https://hearthis.at/solvej-von-malmborg/miss-eyesore-1964-1-winter-song-choral/ **Solution:** I let myself be inspired by Schnittke's choral music (mainly the piece linked below) and wanted to record a male choir. I deemed finding a choir in the limited time impossible, but I could find a group of people. Six singers were recruited for the project choir. I tested their voices to find a good key for the right timbre. I chose to use sampled choir sounds for the deep bass parts and recorded voices for the two "brighter" parts. A game writer, Ronny Korpela, wrote a few drafts for the lyrics, and after a joint decision on lyrics, Daria Romanova translated the lyrics to Russian. Composing the piece took parts of two days. We rehearsed three times and had two recording sessions. I recorded one part at a time, and all singers who could sing the part participated. From the recordings I chose two for each part and put them together, resulting in a choir consisting of about 24 voices. For the right timbre, I lowered the recording half a key. Editing and mixing took a few days.
**Learnings:** Have a lot of time to setup the recording studio. If the recording computer doesn't work (which it didn't), have a backup... Yes, this was recorded on in-built ZOOM microphones... Also, don't try to be the recording technician at the same time as being the conductor.

Link to the game: https://snostormstudio.itch.io/miss-eyesore-1964
Link to Schnittke's "Adam sat weeping at the gates of Paradise": https://www.youtube.com/watch?v=BMBAGSWjXQo]]> **Solution:** I let myself be inspired by Schnittke's choral music (mainly the piece linked below) and wanted to record a male choir. I deemed finding a choir in the limited time impossible, but I could find a group of people. Six singers were recruited for the project choir. I tested their voices to find a good key for the right timbre. I chose to use sampled choir sounds for the deep bass parts and recorded voices for the two "brighter" parts. A game writer, Ronny Korpela, wrote a few drafts for the lyrics, and after a joint decision on lyrics, Daria Romanova translated the lyrics to Russian. Composing the piece took parts of two days. We rehearsed three times and had two recording sessions. I recorded one part at a time, and all singers who could sing the part participated. From the recordings I chose two for each part and put them together, resulting in a choir consisting of about 24 voices. For the right timbre, I lowered the recording half a key. Editing and mixing took a few days.
**Learnings:** Have a lot of time to setup the recording studio. If the recording computer doesn't work (which it didn't), have a backup... Yes, this was recorded on in-built ZOOM microphones... Also, don't try to be the recording technician at the same time as being the conductor.

Link to the game: https://snostormstudio.itch.io/miss-eyesore-1964
Link to Schnittke's "Adam sat weeping at the gates of Paradise": https://www.youtube.com/watch?v=BMBAGSWjXQo]]> 4948863 no no Tue, 14 Jul 2020 22:27:17 +0200 2020-07-14T22:27:17+02:00 2:14 https://hearthis.at/solvej-von-malmborg/invitation-to-lenore/ **Solutions: ** I wanted to use technological instruments from the 19th Century to give the track a steampunky feeling, and so I chose to use glass armonica and a music box. I also incorporated some of the instruments present in the original trailer music, as they probably chose that music for a reason. The music was adapted to the video and not the other way around.
**Learnings:** When downloading videos from Youtube, make sure to do it through a site that you trust. That your virus check thinks it's safe is not enough...

Link to the original trailer: https://www.youtube.com/watch?v=CtJgKStMCkE]]> **Solutions: ** I wanted to use technological instruments from the 19th Century to give the track a steampunky feeling, and so I chose to use glass armonica and a music box. I also incorporated some of the instruments present in the original trailer music, as they probably chose that music for a reason. The music was adapted to the video and not the other way around.
**Learnings:** When downloading videos from Youtube, make sure to do it through a site that you trust. That your virus check thinks it's safe is not enough...

Link to the original trailer: https://www.youtube.com/watch?v=CtJgKStMCkE]]> 6023018 no no Wed, 23 Jun 2021 14:20:58 +0200 2021-06-23T14:20:58+02:00 0:27 https://hearthis.at/solvej-von-malmborg/miss-eyesore-1964-4-winter-song-finale/ **Solution:** I chose to go full circle and reuse parts of the choir piece (Miss Eyesore 1964 - 1 - Winter Song - Choral), but let it be played by an epic orchestra. I spent a little less than a day (well, night) on this piece, reusing melodies from the second and third part of the choir piece. I had technical problems adding the choir part to the mix, which I solved by mixing it in Fmod Studio.
**Learnings:** You can always mix the music in Fmod Studio as a last resort (but try to avoid that...) Also, I ws surprised how well this epic music fit into the game, as it served its special purpose.

Link to the game: https://snostormstudio.itch.io/miss-eyesore-1964]]> **Solution:** I chose to go full circle and reuse parts of the choir piece (Miss Eyesore 1964 - 1 - Winter Song - Choral), but let it be played by an epic orchestra. I spent a little less than a day (well, night) on this piece, reusing melodies from the second and third part of the choir piece. I had technical problems adding the choir part to the mix, which I solved by mixing it in Fmod Studio.
**Learnings:** You can always mix the music in Fmod Studio as a last resort (but try to avoid that...) Also, I ws surprised how well this epic music fit into the game, as it served its special purpose.

Link to the game: https://snostormstudio.itch.io/miss-eyesore-1964]]> 4948865 no no Tue, 14 Jul 2020 22:28:00 +0200 2020-07-14T22:28:00+02:00 3:29 https://hearthis.at/solvej-von-malmborg/lins-rose-garden/ **Solution: ** I started out with the piano, but I felt like something was missing. So I tried to add a synth melody, and soon afterwards I added the bass. With those instruments in place, the song wrote itself.
**Learnings:** One of my composition teachers once said, that a way to trigger one's creativity is to limit oneself. By the limitations stated above, I had to produce something fast, and afterwards I can hear some past melodies reappear in this piece, but the new combination is unique and nice enough. I also noticed that the sound of this song goes very badly together with cellphone speakers - an important aspect to check for when mixing, especially for videos.]]> **Solution: ** I started out with the piano, but I felt like something was missing. So I tried to add a synth melody, and soon afterwards I added the bass. With those instruments in place, the song wrote itself.
**Learnings:** One of my composition teachers once said, that a way to trigger one's creativity is to limit oneself. By the limitations stated above, I had to produce something fast, and afterwards I can hear some past melodies reappear in this piece, but the new combination is unique and nice enough. I also noticed that the sound of this song goes very badly together with cellphone speakers - an important aspect to check for when mixing, especially for videos.]]> 5986914 no no Thu, 10 Jun 2021 21:45:49 +0200 2021-06-10T21:45:49+02:00 2:24 https://hearthis.at/solvej-von-malmborg/vilsen-4-on-the-run/ **Solution:** I listened to Septimus on repeat while doing daily tasks, probably for hours. Then I analyzed what elements that I could use to create a similar feeling, and chose to keep the seven beats per bar, marking each beat in the music and using percussion extensively. I had composed leitmotifs for the two characters, and based the melodies and motifs on them.
**Learnings:** It was good to study the inspirational piece so thoroughly. I also concluded that I had to study percussion better.

Link to the film: https://www.youtube.com/watch?v=1_BKvBIULuc
Link to "How to train your dragon Score: Forbidden friendship": https://www.youtube.com/watch?v=GVjC0GZjsOo]]> **Solution:** I listened to Septimus on repeat while doing daily tasks, probably for hours. Then I analyzed what elements that I could use to create a similar feeling, and chose to keep the seven beats per bar, marking each beat in the music and using percussion extensively. I had composed leitmotifs for the two characters, and based the melodies and motifs on them.
**Learnings:** It was good to study the inspirational piece so thoroughly. I also concluded that I had to study percussion better.

Link to the film: https://www.youtube.com/watch?v=1_BKvBIULuc
Link to "How to train your dragon Score: Forbidden friendship": https://www.youtube.com/watch?v=GVjC0GZjsOo]]> 4948869 no no Tue, 14 Jul 2020 22:32:59 +0200 2020-07-14T22:32:59+02:00 0:57 https://hearthis.at/solvej-von-malmborg/vilsen-7-friendship/ **Solution:** The producer hadn't planned on adding music to the scene, but when I studied the scene I thought it lacked something, made this piece and showed it to him, and he liked it.
**Learnings:** Much of the piece disappears in the dialogue, which has a lot to do with them competing at similar frequencies. When I sent the piece to be mixed into the film audio, I sent it as one file. If I had done this today, I would have sent them stems, so they could have been properly mixed.

Link to the film: https://www.youtube.com/watch?v=1_BKvBIULuc]]> **Solution:** The producer hadn't planned on adding music to the scene, but when I studied the scene I thought it lacked something, made this piece and showed it to him, and he liked it.
**Learnings:** Much of the piece disappears in the dialogue, which has a lot to do with them competing at similar frequencies. When I sent the piece to be mixed into the film audio, I sent it as one file. If I had done this today, I would have sent them stems, so they could have been properly mixed.

Link to the film: https://www.youtube.com/watch?v=1_BKvBIULuc]]> 4948870 no no Tue, 14 Jul 2020 22:32:13 +0200 2020-07-22T15:59:04+02:00 0:32 https://hearthis.at/solvej-von-malmborg/miss-eyesore-1964-2-pyotr-was-alone-3-chased-by-miss-eyesore/ **Solution:**
*Overworld music:* In an earlier project, I had learned that the absense of music created a mystical feeling. I wanted to recreate this, but with music. I wanted the music to go unnoticed, until it was gone. In the audio team, we decided that my music would consist of the nondiegetic ambience, and the sound designers would work on the diegetic ambience. The piece is built on a C+ chord played with a sampled choir instrument, at times using a bit of pitch modulation. Together with the sound designer Alexander Thambert, I recorded voices (a male voice on the lower brink of its vocal range and a female voice on the higher part of the vocal range) and a musical saw, and gained access to Thambert's recordings of dry ice on metal, and these recordings were modified using for example reverse and time stretch. I composed a few tonal components using virtual orchestral instruments. I also used a few of the recordings from the project choir. These sound files were imported into Fmod Studio and put into scatterer instruments, which followed the player and spawned sounds at random, following the progression in the Fmod Studio event.
*Chase music:* The main inspirational source for this piece was the game Amnesia: The Dark Descent (mainly the piece linked below). From this I borrowed the steady pace. I wanted to make the piece atonal. Some of it consists of me playing on my controller keyboard with all of my underarms.
**Learnings:** I learned the limitations of scatterer instruments in Fmod Studio and how to work around them. I also had a lot of fun experimenting. Looking back, I wish I had made a sidechain for the kick-drum in the chase music, and also that I hadn't been used as much high-cut on it.

Link to the game: https://snostormstudio.itch.io/miss-eyesore-1964
Link to Water monster chase music from Amnesia - The Dark Descent: https://www.youtube.com/watch?v=bkvyYD1p4Dk]]> **Solution:**
*Overworld music:* In an earlier project, I had learned that the absense of music created a mystical feeling. I wanted to recreate this, but with music. I wanted the music to go unnoticed, until it was gone. In the audio team, we decided that my music would consist of the nondiegetic ambience, and the sound designers would work on the diegetic ambience. The piece is built on a C+ chord played with a sampled choir instrument, at times using a bit of pitch modulation. Together with the sound designer Alexander Thambert, I recorded voices (a male voice on the lower brink of its vocal range and a female voice on the higher part of the vocal range) and a musical saw, and gained access to Thambert's recordings of dry ice on metal, and these recordings were modified using for example reverse and time stretch. I composed a few tonal components using virtual orchestral instruments. I also used a few of the recordings from the project choir. These sound files were imported into Fmod Studio and put into scatterer instruments, which followed the player and spawned sounds at random, following the progression in the Fmod Studio event.
*Chase music:* The main inspirational source for this piece was the game Amnesia: The Dark Descent (mainly the piece linked below). From this I borrowed the steady pace. I wanted to make the piece atonal. Some of it consists of me playing on my controller keyboard with all of my underarms.
**Learnings:** I learned the limitations of scatterer instruments in Fmod Studio and how to work around them. I also had a lot of fun experimenting. Looking back, I wish I had made a sidechain for the kick-drum in the chase music, and also that I hadn't been used as much high-cut on it.

Link to the game: https://snostormstudio.itch.io/miss-eyesore-1964
Link to Water monster chase music from Amnesia - The Dark Descent: https://www.youtube.com/watch?v=bkvyYD1p4Dk]]> 4948864 no no Tue, 14 Jul 2020 22:26:32 +0200 2020-07-14T22:26:32+02:00 2:37 https://hearthis.at/solvej-von-malmborg/vilsen-6-travelling-together/ **Solution:** I had composed leitmotifs for the two characters, and in this piece, I wanted to weave them together. The montage is pretty low-paced, and I tried to follow its pace. When I received feedback that the piece was too low-paced, I didn't have much time to correct this. I developed the piece, but the producer wanted something mote high-paced and didn't use the piece.
**Learnings:** When you and the client have different points of view, the client is always right - so use your time budget to allow for drastic changes. Also, I have to get a better flute VST, because I could not remove that annoying room reverb...

Link to the film: https://www.youtube.com/watch?v=1_BKvBIULuc
Link to "Forbidden friendship" from "How to train your dragon": https://www.youtube.com/watch?v=6CJ96LGGP6w]]> **Solution:** I had composed leitmotifs for the two characters, and in this piece, I wanted to weave them together. The montage is pretty low-paced, and I tried to follow its pace. When I received feedback that the piece was too low-paced, I didn't have much time to correct this. I developed the piece, but the producer wanted something mote high-paced and didn't use the piece.
**Learnings:** When you and the client have different points of view, the client is always right - so use your time budget to allow for drastic changes. Also, I have to get a better flute VST, because I could not remove that annoying room reverb...

Link to the film: https://www.youtube.com/watch?v=1_BKvBIULuc
Link to "Forbidden friendship" from "How to train your dragon": https://www.youtube.com/watch?v=6CJ96LGGP6w]]> 4948868 no no Tue, 14 Jul 2020 22:31:39 +0200 2020-07-14T22:31:39+02:00 1:46 https://hearthis.at/solvej-von-malmborg/lakrits/ **Solution:** I decided to write a piece inspired by Swedish salty liquorice. In this, I wanted the conflict between people who like the liquorice and people that thinks it's disgusting (me included). First violin and viola were assigned team pro-liquorice, and second violin and cello were against the confectionery. In the end, they find a compromise (putting the salty liquorice in a separate bag).
The original theme is written in G major, and when I decided to write my variation in E minor, I hadn't forseen the potential problem in the order of the variations, and what chord the variation before mine would end on. However, it ended on Eb major. I spent quite some time on writing the single bar that would connect the two variations... and to everybody's surprise, in the end the pieces connected well to each other!
**Learnings:** Syncopation for aggressiveness and scepticism = nice.

*Recorded in Skövde, december 2018. Performed by Scheinkvartetten.*]]> **Solution:** I decided to write a piece inspired by Swedish salty liquorice. In this, I wanted the conflict between people who like the liquorice and people that thinks it's disgusting (me included). First violin and viola were assigned team pro-liquorice, and second violin and cello were against the confectionery. In the end, they find a compromise (putting the salty liquorice in a separate bag).
The original theme is written in G major, and when I decided to write my variation in E minor, I hadn't forseen the potential problem in the order of the variations, and what chord the variation before mine would end on. However, it ended on Eb major. I spent quite some time on writing the single bar that would connect the two variations... and to everybody's surprise, in the end the pieces connected well to each other!
**Learnings:** Syncopation for aggressiveness and scepticism = nice.

*Recorded in Skövde, december 2018. Performed by Scheinkvartetten.*]]> 4971554 no no Wed, 22 Jul 2020 20:07:17 +0200 2020-07-22T20:07:17+02:00 1:09 https://hearthis.at/solvej-von-malmborg/autumn-journey-orchestral/ **Solution:** Finding instruments that suited some of the parts was hard, as they were written directly for piano. I realized that a vibraphone would play the initial part even better than a piano, and I used this instrument through most of the piece. I have written an essay about how I orchestrated this - my solutions and thoughts behind it - if anyone want to know...
**Learnings:** While working with this, I fell in love with tuned percussion.

*Link to the piano version:* https://hearthis.at/solvej-von-malmborg/autumn-journey-piano/]]> **Solution:** Finding instruments that suited some of the parts was hard, as they were written directly for piano. I realized that a vibraphone would play the initial part even better than a piano, and I used this instrument through most of the piece. I have written an essay about how I orchestrated this - my solutions and thoughts behind it - if anyone want to know...
**Learnings:** While working with this, I fell in love with tuned percussion.

*Link to the piano version:* https://hearthis.at/solvej-von-malmborg/autumn-journey-piano/]]> 4972094 no no Wed, 22 Jul 2020 21:04:45 +0200 2020-07-22T21:04:45+02:00 3:20 https://hearthis.at/solvej-von-malmborg/autumn-journey-piano/ **Solution:** I asked my friends for some inspiration, giving myself an exercise to write short pieces based on random notes and emojis they gave me (see link below). I used one of these in my final composition. I used twelve-tone, two-octave scales and a few other modern techniques while writing this piece.
**Learnings:** A lot of the things I have written are full of material each second. This time I allowed me to begin in a very slow pace, and that really helped to shape a dynamic piece.

*Link to a short piece I made through this excercise with explanation (not the one I based this composition on):* https://hearthis.at/solvej-von-malmborg/linnea/]]> **Solution:** I asked my friends for some inspiration, giving myself an exercise to write short pieces based on random notes and emojis they gave me (see link below). I used one of these in my final composition. I used twelve-tone, two-octave scales and a few other modern techniques while writing this piece.
**Learnings:** A lot of the things I have written are full of material each second. This time I allowed me to begin in a very slow pace, and that really helped to shape a dynamic piece.

*Link to a short piece I made through this excercise with explanation (not the one I based this composition on):* https://hearthis.at/solvej-von-malmborg/linnea/]]> 4972069 no no Wed, 22 Jul 2020 20:55:12 +0200 2020-07-22T20:55:12+02:00 3:22 https://hearthis.at/solvej-von-malmborg/linnea/ **Solution:** I used the notes to build my baseline/chords on. The emoji inspired tempo, among other things.
**Learnings:** This was a fun exercise. I hope I'll do something similar again!

*Link to Kylo Ren's theme (link starts at the motif):* https://youtu.be/_vQJ1sIOL0o?t=50
*Link to all of the prmopt compositions (for my Facebook friends only)*: https://www.facebook.com/638252376/videos/10156524654392377/]]> **Solution:** I used the notes to build my baseline/chords on. The emoji inspired tempo, among other things.
**Learnings:** This was a fun exercise. I hope I'll do something similar again!

*Link to Kylo Ren's theme (link starts at the motif):* https://youtu.be/_vQJ1sIOL0o?t=50
*Link to all of the prmopt compositions (for my Facebook friends only)*: https://www.facebook.com/638252376/videos/10156524654392377/]]> 4972042 no no Wed, 22 Jul 2020 20:45:59 +0200 2020-07-22T20:45:59+02:00 0:23 https://hearthis.at/solvej-von-malmborg/were-in-space-now/ **Solution:** I worked on the piece in three sessions. During the first session, I wrote the first part of the piece, which by then consisted of the background sounds and the synthesizer sounds. But I wanted somethinng more, and the second session was spent on adding orchestral instruments and melodies. The third session I wrote the middle part of the piece. About a month later, I used the piece as menu music in my Scruffy Space Opera project.
**Learnings:** Adding lots and lots of sounds on top of each other can be magnificient, but also overwhelming. This piece would have required more mixing to bring out the goodies. The piece became blurry, and I realized I had to learn a lot more about mixing.]]> **Solution:** I worked on the piece in three sessions. During the first session, I wrote the first part of the piece, which by then consisted of the background sounds and the synthesizer sounds. But I wanted somethinng more, and the second session was spent on adding orchestral instruments and melodies. The third session I wrote the middle part of the piece. About a month later, I used the piece as menu music in my Scruffy Space Opera project.
**Learnings:** Adding lots and lots of sounds on top of each other can be magnificient, but also overwhelming. This piece would have required more mixing to bring out the goodies. The piece became blurry, and I realized I had to learn a lot more about mixing.]]> 6023503 no no Wed, 23 Jun 2021 16:20:19 +0200 2021-06-23T16:20:19+02:00 2:20 https://hearthis.at/solvej-von-malmborg/scruffy-space-opera-a-small-cave/ **Solution:** I used what was available in Ableton Live on the school's computers, trying to create a hybrid music piece symbolizing a pretty barren cave where enemies could lurk. I built the piece on elements from another of my compositions from the same game module, but at half speed.]]> **Solution:** I used what was available in Ableton Live on the school's computers, trying to create a hybrid music piece symbolizing a pretty barren cave where enemies could lurk. I built the piece on elements from another of my compositions from the same game module, but at half speed.]]> 4948866 no no Tue, 14 Jul 2020 22:30:11 +0200 2020-07-14T22:30:11+02:00 1:22 https://hearthis.at/solvej-von-malmborg/song-of-the-substance/ **Solution:** The piece is based on the gameplay music from the beginning on the game. I wrote lyrics to its melody and recorded the song with me as a singer. I wanted a non-human sound to the vocals, so I put an EQ on it with extreme enhancements of a few bands, and also blended in a pitch shift of an octave above the song.
**Learnings:** It was very hard to shape the non-human vocals and yet keep the lyrics clear. I learned that playing a piece, exiting the room, closing the door behind you, listening to what that does to the sound, can be a nice strategy when mixing.

*Link to a downloadable version of the game Slimer:* https://gamejolt.com/games/Slimer/328041
*Link to the gameplay music the piece is based on:* https://soundcloud.com/user-14664253/slimer-act-1-music]]> **Solution:** The piece is based on the gameplay music from the beginning on the game. I wrote lyrics to its melody and recorded the song with me as a singer. I wanted a non-human sound to the vocals, so I put an EQ on it with extreme enhancements of a few bands, and also blended in a pitch shift of an octave above the song.
**Learnings:** It was very hard to shape the non-human vocals and yet keep the lyrics clear. I learned that playing a piece, exiting the room, closing the door behind you, listening to what that does to the sound, can be a nice strategy when mixing.

*Link to a downloadable version of the game Slimer:* https://gamejolt.com/games/Slimer/328041
*Link to the gameplay music the piece is based on:* https://soundcloud.com/user-14664253/slimer-act-1-music]]> 4972142 no no Wed, 22 Jul 2020 21:29:35 +0200 2020-07-22T21:29:35+02:00 1:48 https://hearthis.at/solvej-von-malmborg/mousegethome/ **Solution:** I wanted to create a peppy game tune. I borrowed some of the baseline from a traditional Shetland tune (see link below). The melody is simple as it's purely chromatic, which also gives it a bit of a circus feeling. I tried a few tempos, ending up at 132 bpm in the end. To make it easier to implement in the game, I took extra care to make the audio file a seamless loop.
**Learnings:** Game jams forces you to JUST DELIVER, and not to ponder on anything. Also, after this game jam I learned Fmod Studio better, and while seamless loops are great, they are not necessary. When in "just deliver" mode, a file that loops with the help of Fmod Studio does the work a lot better. Also, before this, I didn't know I could produce such overly peppy music...

The game was called MouseGetHome(); and was created during the Global Gam Jam of January 25-27 2019, in Skövde.
*Link to downloadable version of the game:* https://globalgamejam.org/2019/games/cloudberrys-get-home
*Link to a recording of the traditional Shetland tune:* https://www.youtube.com/watch?v=vEdVEvJaPQI]]> **Solution:** I wanted to create a peppy game tune. I borrowed some of the baseline from a traditional Shetland tune (see link below). The melody is simple as it's purely chromatic, which also gives it a bit of a circus feeling. I tried a few tempos, ending up at 132 bpm in the end. To make it easier to implement in the game, I took extra care to make the audio file a seamless loop.
**Learnings:** Game jams forces you to JUST DELIVER, and not to ponder on anything. Also, after this game jam I learned Fmod Studio better, and while seamless loops are great, they are not necessary. When in "just deliver" mode, a file that loops with the help of Fmod Studio does the work a lot better. Also, before this, I didn't know I could produce such overly peppy music...

The game was called MouseGetHome(); and was created during the Global Gam Jam of January 25-27 2019, in Skövde.
*Link to downloadable version of the game:* https://globalgamejam.org/2019/games/cloudberrys-get-home
*Link to a recording of the traditional Shetland tune:* https://www.youtube.com/watch?v=vEdVEvJaPQI]]> 4971553 no no Wed, 22 Jul 2020 19:55:46 +0200 2020-07-22T19:55:46+02:00 0:54 https://hearthis.at/solvej-von-malmborg/fragment-172/ **Solution:** I chose to write this song, beginning with a poem I had written. I tried to follow the lyrics when writing the piece. I also wished not to glue the music to a key, and so, the key changes about six times I think. The title "Fragment 172" refers to Sappho's poetry.
**Learnings:** When working on this in the DAW, I didn't have access to string quartet sounds and was at the beginning of my music production learning curve. I wish I could have recorded it live. I'm glad to say, I've learned a lot since I made this recording in 2018.]]> **Solution:** I chose to write this song, beginning with a poem I had written. I tried to follow the lyrics when writing the piece. I also wished not to glue the music to a key, and so, the key changes about six times I think. The title "Fragment 172" refers to Sappho's poetry.
**Learnings:** When working on this in the DAW, I didn't have access to string quartet sounds and was at the beginning of my music production learning curve. I wish I could have recorded it live. I'm glad to say, I've learned a lot since I made this recording in 2018.]]> 4972129 no no Wed, 22 Jul 2020 21:21:55 +0200 2020-07-22T21:21:55+02:00 1:27 https://hearthis.at/solvej-von-malmborg/vilse-i-vall/ **Solution:** The rhythm was inspired by traditional Swedish polska dance rhythm, that's strummed on my lyre harp in the recording. The melody is also inspired by traditional Swedish melodies.
**Learnings:** Collaborations is good for my creativity.

*Recorded on my sofa in August 2017.*]]> **Solution:** The rhythm was inspired by traditional Swedish polska dance rhythm, that's strummed on my lyre harp in the recording. The melody is also inspired by traditional Swedish melodies.
**Learnings:** Collaborations is good for my creativity.

*Recorded on my sofa in August 2017.*]]> 4971505 no no Wed, 22 Jul 2020 16:06:48 +0200 2020-07-22T16:06:48+02:00 0:35 https://hearthis.at/solvej-von-malmborg/mitt-hjarta-i-din-hand/ **Solution:** The lyrics were built on material from the LARPs, some of it being quotes from Hella or her husband Olof. The melody is written to be able to stand alone, containing enough harmonic clues that accompaniment isn't necessary. It builds on motifs and repetitions to be easier to remember. The song was written and recorded within a day, to surprise the player of Olof.
**Learnings:** People love having songs written to them (songs for their fictional characters included).

*Recorded on my sofa in July 2016.*]]> **Solution:** The lyrics were built on material from the LARPs, some of it being quotes from Hella or her husband Olof. The melody is written to be able to stand alone, containing enough harmonic clues that accompaniment isn't necessary. It builds on motifs and repetitions to be easier to remember. The song was written and recorded within a day, to surprise the player of Olof.
**Learnings:** People love having songs written to them (songs for their fictional characters included).

*Recorded on my sofa in July 2016.*]]> 4971506 no no Wed, 22 Jul 2020 16:06:49 +0200 2020-07-22T16:06:49+02:00 2:16 https://hearthis.at/solvej-von-malmborg/besvarjelse-mot-ovanner/ **Solution:** The choral part was written first. When I was done writing it, I added the initial solo part, built on elements from the choral parts. I tried not to fall back into an old habit of trying to let all singers always have something to sing.
**Learnings:** I still ask myself how the solo should be transcribed. That makes me think of all the transcribed music through history, that has been simplified when put onto paper. What nuances have we lost because of norms of transcription?

*Live recording from Torsby kyrka, september 2015. Performed by Wermlandsensemblen. Solo: Solvej von Malmborg (me, that is). Directed by Gunno Palmquist.*]]> **Solution:** The choral part was written first. When I was done writing it, I added the initial solo part, built on elements from the choral parts. I tried not to fall back into an old habit of trying to let all singers always have something to sing.
**Learnings:** I still ask myself how the solo should be transcribed. That makes me think of all the transcribed music through history, that has been simplified when put onto paper. What nuances have we lost because of norms of transcription?

*Live recording from Torsby kyrka, september 2015. Performed by Wermlandsensemblen. Solo: Solvej von Malmborg (me, that is). Directed by Gunno Palmquist.*]]> 4971344 no no Wed, 22 Jul 2020 14:54:41 +0200 2020-07-22T14:54:41+02:00 3:06 https://hearthis.at/solvej-von-malmborg/elven-vocalise/ **Solution:** I chose to write a vocalise, so neither I nor others would have a problem with elven lyrics. I chose to write it as a round/canon, as it is an interesting technique and opens up for singing in several parts. I thought the triplets added a dreamy, elven flavour to the piece.
**Learnings:** This was one of the first song recordings I made where I used sound effects, that is, the rain. This was one of the things that eventually led me into studying music for digital games.

There is a live recording from a concert with the quartet Madrigalkvartetten where you can hear how it can be performed by a choir: https://soundcloud.com/vitterhorn/vocalise-madrigalkvartetten

*Recorded in my kitchen, April 2015. Performed by Solvej von Malmborg.*]]> **Solution:** I chose to write a vocalise, so neither I nor others would have a problem with elven lyrics. I chose to write it as a round/canon, as it is an interesting technique and opens up for singing in several parts. I thought the triplets added a dreamy, elven flavour to the piece.
**Learnings:** This was one of the first song recordings I made where I used sound effects, that is, the rain. This was one of the things that eventually led me into studying music for digital games.

There is a live recording from a concert with the quartet Madrigalkvartetten where you can hear how it can be performed by a choir: https://soundcloud.com/vitterhorn/vocalise-madrigalkvartetten

*Recorded in my kitchen, April 2015. Performed by Solvej von Malmborg.*]]> 4971378 no no Wed, 22 Jul 2020 15:36:06 +0200 2020-07-22T15:36:06+02:00 3:56 https://hearthis.at/solvej-von-malmborg/jag-ar-manga/ **Solution:** The song centers around a drone that can be played on an organ. I think I wrote the music first, but a few words came together with the music. I did some research to write my own lyrics.
**Learnings:** The drone wasn't possible to use when performing, because the choir couldn't adapt to it. I think it's easier to adapt to music where notes appear continuously than a drones that never changes.

*Rehearsal recording from Karlstad, October 2013. Performed by Domkyrkokören, Karlstad. Directed by Eneken Berglund.*]]> **Solution:** The song centers around a drone that can be played on an organ. I think I wrote the music first, but a few words came together with the music. I did some research to write my own lyrics.
**Learnings:** The drone wasn't possible to use when performing, because the choir couldn't adapt to it. I think it's easier to adapt to music where notes appear continuously than a drones that never changes.

*Rehearsal recording from Karlstad, October 2013. Performed by Domkyrkokören, Karlstad. Directed by Eneken Berglund.*]]> 4971377 no no Wed, 22 Jul 2020 15:21:44 +0200 2020-07-22T15:21:44+02:00 1:24 https://hearthis.at/solvej-von-malmborg/we-wish/ **Solution:** I made a pretty basic arrangement with a coda. So the children wouldn't have to learn something new, I had them stay on the same note until the end.
**Learnings:** You can get away with a few well-placed parallel 5ths and 8ths - but somebody WILL still notice them...

*Live recording from Nybrokajen, December 2006. Performed by Sofia vokalensemble and Adolf Fredriks musikklasser. Directed by Bengt Ollén.*]]> **Solution:** I made a pretty basic arrangement with a coda. So the children wouldn't have to learn something new, I had them stay on the same note until the end.
**Learnings:** You can get away with a few well-placed parallel 5ths and 8ths - but somebody WILL still notice them...

*Live recording from Nybrokajen, December 2006. Performed by Sofia vokalensemble and Adolf Fredriks musikklasser. Directed by Bengt Ollén.*]]> 4971380 no no Wed, 22 Jul 2020 15:10:10 +0200 2020-07-22T15:10:10+02:00 0:53 https://hearthis.at/solvej-von-malmborg/sa-gar-en-dag-vers-4/ **Solution:** I worked a lot with clusters and parallel motion, to create a piece that sounds more intricate than it really is to sing. The piece was written in an afternoon and was performed at the same concert.
**Learnings:** I wanted the song, that ends on the word "dör" ("die"), to "die out" on the word, to follow the lyrics, so I wanted the note to be short. I regret that; The timbre of the choir together with the general music of the piece asks for a longer note.

*Live recording from Hjorthagskyrkan, Stockholm, 2006. Performed by Nova kammarkör (it only existed a year, there are more choirs with the same name). Directed by Andreas Franzén.*]]> **Solution:** I worked a lot with clusters and parallel motion, to create a piece that sounds more intricate than it really is to sing. The piece was written in an afternoon and was performed at the same concert.
**Learnings:** I wanted the song, that ends on the word "dör" ("die"), to "die out" on the word, to follow the lyrics, so I wanted the note to be short. I regret that; The timbre of the choir together with the general music of the piece asks for a longer note.

*Live recording from Hjorthagskyrkan, Stockholm, 2006. Performed by Nova kammarkör (it only existed a year, there are more choirs with the same name). Directed by Andreas Franzén.*]]> 4971379 no no Wed, 22 Jul 2020 15:49:50 +0200 2020-07-22T15:49:50+02:00 1:39