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Hi Paul,

I think they're referring to both musical and instrument texture, based on the examples they gave. Minor 2nds, tritones, 1/4 semitones, chaos clusters, are mainstream in scarey-horror themes. Often no clearly established beat, little to no melody, focusing on dissonant harmonies, dark orchestral textures (see Penderecki's "Threnody for the Victims of Hiroshima" - https://www.youtube.com/watch?v=Dp3BlFZWJNA). Surprisingly, these aleatoric textures are difficult to compose. It's actually difficult to write 'chaos' textures on purpose making sure to stay away from all diatonic textures. The movie "The Shining" made good use of the aleatoric semitone string layers playing quietly under Jack Nicholson's dialogue in the bar scene.

I think they want to hear more layers going on, they seem a little thin, for lack of a better word. Perhaps a little more creepiness, too. Textural is kind of a fuzzy word.

Paul, your cues never developed.
I kept waiting for you to introduce new elements, or subtract existing elements, but it didn't happen in either piece.

This is by no means an ironclad rule, but it's one I adhere to — add something new every four bars.
Make something different every four bars, whether you're adding something or taking something out.
Or both.


Henry