In the Fall Semester of the 2018-2019 Academic Year, I was fortunate enough to take a Composition class from the Sound Designer and Composer Lindsay Jones. Here are some examples of my work from that class.


This is one of our earlier assignments. Our prompt was simply to create a feeling of sadness.

"More to Come" - Hallie Boyd

Skeleton Crew Opening

For this next project, we were to create the opening cue for a play called "Skeleton Crew" by Dominique Morisseau. This play takes place primarily in the breakroom of a factory in Detroit, that is rumored to be going out of business soon. Morisseau was very specific in how she wanted the opening cue to sound, and we were given a loop library of J. Dilla inspired beats to draw from as we created the following intro:

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Opening Cue - Skeleton Crew - Hallie Boyd

I used factory sound effects to line up to the beat that starts over top of the machine whirring. I ended with a break room bell because the play opens on characters in a break room at the factory - I wanted to use my opening cue to pull the audience into the world of the play, and I felt that this was stronger than a simple fade out.

Cyberpunk Macbeth

The 3 tracks to the right (below, on mobile devices) are all from the same project. We were told we could set Macbeth wherever we wished, and write music in accordance with that setting. These three examples are my favorites from that project.

I chose to set Macbeth in a 1980s vision of what the future would look like. Buzzing neon, leather jackets, and a dim and rainy dystopia were my inspiration for these pieces. I always enjoy this setting in film, and I love a good synth jam, so I had a lot of fun with this.

The opening piece is meant to draw us into the world. Follow the Weird Sisters down a dark alley, and see what kind of spells they have in store for us. It sets up the feel of the music for the rest of the show. I envision the witches walking on stage and taking their places during the heavy guitar chords, and their first line beginning right after the thunderclap at the end.

The second piece is a transition cue between scene 2-1 and 2-2. This is just after Macbeth has made the decision that he is going to kill King Duncan. The kick drum that comes in half-way through was meant to have a sort of heart-beat quality as Macbeth comes to terms with his decision.

The intro to the second half pulls us back into the world the same way the beginning of the play's cue did as we re-open on the witches. This is probably my favorite piece I produced for this project. The 80s-style gated reverb on the drums really comes through, and the guitar lick is simple, but still sounds like it fits well, thematically. 

This project was endlessly fun and a wonderful capstone to an enlightening class with Lindsay Jones.

Cyberpunk Macbeth - Opening - Hallie Boyd
Cyberpunk Macbeth - 2.1 to 2.2 - Hallie Boyd
Cyberpunk Macbeth - Out of Intermission - Hallie Boyd