JAN OMEDES
Violinist in Barcelona
Born in Barcelona in 1991 in a musical environment, Jan Omedes is the son of a pianist and the brother of a trumpeter, which led him to experience music from an early age. Before enrolling at the Escola Superior de Música de Catalunya (ESMUC), he completed his studies at the Associated Board of the Royal Schools of Music (ABRSM), where he discovered his natural talent for composition and his passion for creating music.
He earned his higher degree in violin performance at ESMUC, receiving training from esteemed teachers such as Eva Graubin and Helena Satué, as well as members of the Casals Quartet. For his final project, he composed an original chamber music piece, a significant step in his journey toward professional composition. In parallel, he has been part of various national and international orchestras, gaining solid experience as a performer.
Over time, his passion for musical creation led him to explore composition for audiovisual media. He pursued a Master’s in Film Scoring and Music for Audiovisual Media at ESMUC, where he worked on several short films and was mentored by renowned composer Arnau Bataller for his final project. This training allowed him to develop his own style, capable of conveying emotions through sound, harmony, and his natural ability to compose melodies.
In addition to his dedication to composition in the audiovisual world, he has collaborated with various artists and musical projects. He contributed to Swit Eme’s album and actively collaborates with singer-songwriter Anna d’Ivori. He was also involved in the musical production of T’estimo, ets perfecte, ja et canviaré, directed by Elisenda Roca, bringing his expertise to musical theater.
Currently, Jan Omedes combines his work as a violinist and film composer, exploring new projects in the audiovisual world. With a creative vision and a versatile style, he continues to develop his own musical language, bringing emotion and personality to every piece.
Method
Music has the power to add depth to an image, guiding the viewer through the emotional journey of a story. That’s why, when I start working on a soundtrack, the first essential step after watching the film is to ask myself a series of key questions: What kind of music does this image need? What emotion should it convey? Is it better to leave room for silence? Where is the climax?
Every project is different, but there are some essential elements in my creative process:
1) Themes and Musical Identity
I enjoy working with musical themes or leitmotifs because they allow the listener to recognize and remember melodies, associating them with specific characters, situations or emotions. I have a natural ability to create melodies with a distinct identity, and this is one of my main tools for giving coherence and unity to a soundtrack. However, I can also use more experimental textures without a clear melody or theme.
2) Communication with the Director
Film is a collaborative effort, and the music must serve the film rather than exist independently. While I usually have a clear idea of how the soundtrack should sound, communication with the director is essential to understanding their vision and finding the best musical solution for each scene together
3) Finding the Right Sound
Each project has its own sonic identity. It may call for a classical orchestral instrumentation, a more electronic and experimental approach, or even a blend of different styles. Defining this “musical color” is one of the most exciting parts of the process and often involves exploration and experimentation. In this regard, being a violinist allows me to naturally incorporate the violin into my compositions when the project requires it, adding a personal and organic touch. Additionally, I also have experience with the erhu, the Chinese violin, which provides distinctive sonorities and can be a powerful tool for creating unique atmospheres.
4) Interaction with the Image
Music does more than accompany images—it can give them a whole new dimension. The same moment can feel more dramatic, tense, or light depending on how it is scored. The question is not just what music to use, but when and how to introduce it. Sometimes, silence can be the most powerful choice.
5) Musical Structure and Evolution
Just as a film has a dramatic structure, the music must also evolve throughout the story. Themes can transform, reappear with new variations, or play with the audience’s expectations. This creates a musical narrative that complements and enhances the visual storytelling.
6) From Concept to Recording
Once the musical strategy is defined, the next step is to orchestrate, produce, and record the soundtrack. Depending on the project, this might involve a full orchestra, a chamber ensemble, or electronic sounds. My experience in performance and arrangement helps me make both creative and practical decisions to bring the music from an initial sketch to its final version.
Passion and Creativity in Every Project
Each new project is a challenge and an opportunity to experiment with new musical languages. I love exploring, trying different approaches, and always looking for the best way to bring a story to life through music. In the end, composing soundtracks is about merging image and sound to make the audience feel, experience, and remember something truly unique.