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I don't write music for an emotion. I write music for a character, and the character is part of a story. Within that story, several moments will lend themselves to being musicalized. So the first question you're really asking is What makes me think it's the right time for music?https://twitter.com/jasonoftroupe/status/1220829059640250368 …
The key point is that in a musical (at least the way I write them), a song can only be about one thing. Every song has a job to do, in terms of moving the character further through the story. So you can't take those moments in isolation. They're points on a map.
The reason a character gets from one place to another is largely the way he or she responds to an event, which is to say their emotional state determines their actions. (All we control is how we react and how we recover, after all.) And so NOW...
...We can talk about how those emotions are musicalized. But so much depends on what we, the authors, know about the character. Anger sounds different for Effie White than it does for Fanny Brice. So does joy. The composer has to know the palette for each character.
So there's the character and there's also the milieu: where and when does this story take place? Remember that Dayton OH in 1954 sounds different than Puerto Vallarta in 1997. Before you write the music, you've got to know the character and the milieu.
Okay, have you finished all that homework? Here's the key to a musical: the characters SING. So let them. Take your character, put them in the situation and the milieu, walk along the map with them and when you get to the spot, listen. What do they say?
Characters will speak to you, not just in words (though that's vastly important), but in sounds. Low moaning sounds or fiercely percussive sounds or placid hypnotic sounds. Listen. If the characters have been built right, from the ground up, they know what they sound like.
Everything after that is the technique. How do you translate that sound from that character into the music you know how to write, into the music that you think will best solve whatever problem the story is putting in front of you?
It's an intuitive process, but you can't rush it and you can't fake it. Trust your characters. If it won't sound right coming out of their mouths, it isn't right. /MIC DROP
Have you ever planned a song, then decided the moment actually doesn’t call for music—and/or, initially considered a scene too insignificant for a number, but decided the moment did in fact need a song?
Absolutely, yes, both.
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