July 15th, 2009
Jen’s 3rd Motif
Jen's 3rd Motif
Jen’s 3rd motif is a simple 3 note descending idea, ostensibly based around a minor chord. In the example here, I show how it can also be used for a more optimistic effect over a major chord (Bb major substituting for D minor). In some parts of the score this motif is played over a diminished triad as well.
The Main Title Theme
The main theme to Jen clearly opens with the 3rd motif. This time the motif is developed into a melody, following the Dorian mode progression of Dm F G Dm. Here is a simplified version of the main theme.
- Jen, Main Theme
In the opening sequence to the film, this main theme is played on piano with the harmonic support coming mostly from the strings. The melody makes use of suspended notes quite frequently. In addition, an ostinato on the vibraphone plays A G A D throughout the piece. Both of these devices work to blur the harmonies away from strongly defined triads and help give the music a more contemporary sound.
In my next post I’ll take a look at the palette used in more depth and after that we will look into some of the individual cues.
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July 14th, 2009
What this is all about …
I’m currently scoring a feature film and wanted to discuss some of the process that goes into composing and realising the score. A blog seemed like the best idea. I’m going to start with an overview and explain about the kind of musical devices I’m going to use. In further posts I’ll explore some of the scenes in the film and show how these musical devices are used in context.
Jen
The film itself is a romantic drama about the life of a young alcoholic girl living on the streets in England (
http://www.jenmovie.com). The brief asked for a fairly conventional orchestral score but with some contemporary elements. Something in the style of Rachel Portman or Thomas Newman with a piano/strings sound but also including synthetic and sound design elements.
The Palette
I wanted to ensure that the film had a distinctive musical palette to tie all the cues together. Selecting the instrumentation is usually one of the first things I do when composing. For this film I knew it would be strongly based around piano and strings. After a bit of experimentation I added some light woodwind, acoustic guitars and a vibraphone to this sound. Some light contemporary drum loops and occasional sound design helped to round out the sound.
The Lexicon
I wanted the score to move away from traditional triadic voicings and work with contemporary harmonic ideas. After playing some suggestions to the director and editor, we settled on a style and sound based around the interval of a 4th. This became somewhat integral to the score in the end and a Dm11 chord spelled in 4ths (D G C F) became a definitive harmonic sound for Jen.
Jen, 1st Motif
Jen’s 1st Motif
Played at the very opening of the f ilm, this motif reflects the character of Jen as initially perceived by the audience: somewhat distant and even a little unsympathetic. The motif is cold and hard with little feeling of resolution. There is a vague harmonic suggestion of perhaps Dm11 to Cmaj7 but it is left open and ambiguous.
This motif is played throughout the score although often the last chord is omitted to keep more of a static harmonic sound. Usually this is played over the ’stacked fourth’ voicing of Dm11.
Jen, 2nd Motif
Jen’s 2nd Motif
This motif again spells out the distinctive Dm11 sound of Jen but sounds far less cold than the 1st motif. The searching and restless quality show a different side to her character.
Unlike the 1st motif which tends to demand attention, this motif often plays a subordinate role in the music, drifting past in the background behind other elements. It is used frequently throughout the score.
For my next post, I’ll cover the 3rd motif and the main theme of the movie.
Enjoy!
James
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