In the latest chapter of the Avatar saga, composer Simon Franglen has taken film scoring into boldly imaginative territory, not just with orchestral writing, but by inventing entirely new musical instruments for Avatar: Fire and Ash, the third instalment of James Cameron’s epic franchise. These unique instruments were created to give authentic voice and texture to the alien cultures of Pandora, blending cinematic storytelling with physical sound-making in an unprecedented way.
Source: classicfm.com
Franglen is no stranger to ambitious scoring projects. Having worked as lead arranger with the late James Horner on the original Avatar and as composer for Avatar: The Way of Water, he returned once more to help shape the musical identity of Pandora’s evolving world. His guiding principle remains simple yet profound: music must tell the emotional story, a task that often begins at the piano but extends far beyond traditional orchestration.
For the new nomadic group known as the Wind Traders, Franglen pushed his creativity even further. Instead of relying solely on existing instruments, he designed custom instruments that would visually and sonically fit the culture depicted in the film. These devices, affectionately dubbed “the stringy things” and “the drummy things” by Franglen, were first sketched by the composer, turned into beautiful 3D designs by the art department, and ultimately 3D-printed as real, playable instruments used on set. These inventions not only appear on camera but also influenced the score itself, offering unique timbres that enrich the Avatar soundworld.
Capturing another layer of Pandoran life, the music for the destructive Ash faction was crafted from culturally inspired sources. Here, Franglen incorporated the morin khuur, a bowed Mongolian instrument with a visceral, frenzied sound. By blending this traditional instrument with modern techniques such as electric cello and effects, he created a chaotic sound palette that reflects the narrative role of the Ash people.
More than just background music, the score of Fire and Ash functions as an emotional and narrative force throughout the film’s 3-hour and 17-minute runtime, simultaneously building tension in action sequences and deepening the audience’s connection to the characters and cultures on screen. Franglen’s innovations, from new instrument design to thematic development, showcase a visionary approach to film music that expands the very definition of what a soundtrack can be.
With Avatar: Fire and Ash now in theatres, audiences will not only see Pandora with fresh wonder but also hear it in ways no cinematic world has before, a triumph of musical imagination and storytelling through sound.
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