[Photo by Linus Bohman]
Among the many primary functions of film music, tension is near the top of the list. Wether it’s to generate feelings of suspense, anticipation, or even a false sense of danger, creating tension is a major part of our work as film composers.
In this article I’ll discuss one of the tools you can add to your bag of tricks for creating tension, the technique of stretching out a scale.
Expectation
Tension is aroused when there is a conflict between what we expect to happen and what actually happens. In music one of the easiest ways to do this is to set up an expectation, but then delay it’s resolution.
I’m reminded of the scene from Who Framed Roger Rabbit in which the villain is trying to get Roger Rabbit to come out of his hiding place. He knocks out the rhythm to the first part...
Among the many primary functions of film music, tension is near the top of the list. Wether it’s to generate feelings of suspense, anticipation, or even a false sense of danger, creating tension is a major part of our work as film composers.
In this article I’ll discuss one of the tools you can add to your bag of tricks for creating tension, the technique of stretching out a scale.
Expectation
Tension is aroused when there is a conflict between what we expect to happen and what actually happens. In music one of the easiest ways to do this is to set up an expectation, but then delay it’s resolution.
I’m reminded of the scene from Who Framed Roger Rabbit in which the villain is trying to get Roger Rabbit to come out of his hiding place. He knocks out the rhythm to the first part...
- 7/23/2012
- by Ryan Leach
- SCOREcastOnline.com
Being a composer isn’t just about writing nice tunes. In this new millenium, especially when it comes to media/film composition, a composer’s job description entails everything and anything from knowing how to read and analyze a script to writing for a full symphony orchestra, knowing how to program a synthesizer and being a good mixing engineer. Composers are expected to wear many different hats and wear them well at that. Directors expect to hear demos and mockups that sound as good as—if not better than—the final product, so we have to be producers and engineers. With the constant developments in technology and the breadth of excellent sample libraries available today, standards are constantly rising, so we have to be technologists. Since being a composer, by nature, still seats us squarely in the position of operating as independent contractors, we have to be business savvy and have a handle on finances,...
- 1/9/2012
- by Stellita Loukas
- SCOREcastOnline.com
My experience as a composer has been primarily working with independent filmmakers with smaller budgets on short, feature, and documentary films. As I read through the articles from this month’s SCOREcast writers, I found similar scenarios that I also encounter in my work — one of them being the question of audio demonstration. Whether the project is with a local filmmaker or an out-of-town client this is certainly a factor to consider, and I have learned to ask many questions at the beginning of a new project.
Audio: Demonstrate in Your Studio and Ask Questions
Filmmakers usually have excellent editing equipment but often don’t have a good audio system, and sometimes they are unaware of what a quality system really sounds like.
If you can, try to schedule your first meeting with the director in your studio. Ask them to bring a couple of their favorite soundtrack CDs that...
Audio: Demonstrate in Your Studio and Ask Questions
Filmmakers usually have excellent editing equipment but often don’t have a good audio system, and sometimes they are unaware of what a quality system really sounds like.
If you can, try to schedule your first meeting with the director in your studio. Ask them to bring a couple of their favorite soundtrack CDs that...
- 4/30/2010
- by SCOREcast
- SCOREcastOnline.com
My experience as a composer has been primarily working with independent filmmakers with smaller budgets on short, feature, and documentary films. As I read through the articles from this month's SCOREcast writers, I found similar scenarios that I also encounter in my work — one of them being the question of audio demonstration. Whether the project is with a local filmmaker or an out-of-town client this is certainly a factor to consider, and I have learned to ask many questions at the beginning of a new project.
Audio: Demonstrate in Your Studio and Ask Questions
Filmmakers usually have excellent editing equipment but often don’t have a good audio system, and sometimes they are unaware of what a quality system really sounds like.
If you can, try to schedule your first meeting with the director in your studio. Ask them to bring a couple of their favorite soundtrack CDs that apply...
Audio: Demonstrate in Your Studio and Ask Questions
Filmmakers usually have excellent editing equipment but often don’t have a good audio system, and sometimes they are unaware of what a quality system really sounds like.
If you can, try to schedule your first meeting with the director in your studio. Ask them to bring a couple of their favorite soundtrack CDs that apply...
- 4/29/2010
- by noreply@blogger.com (Duncan K. Bohannon)
- SCOREcastOnline.com
Over the past few years I've had the opportunity to work with many talented filmmakers from across the country and around the world. Like in so many other fields, today's technology has made it possible to score a project with just about anyone no matter where they're located. Although I'm grateful that all I need is a cell phone and an internet connection to collaborate with such a diverse group of filmmakers, long distance scoring does come with plenty of challenges.
DemoingOne of the most frightening aspects of long distance scoring is that once you send off a demo, it's out of your hands. You relinquish all control over what type of system they are listening on, how loud they are listening, whether or not they've lined your cue up to the video in the right place, and so on. This is scary stuff, enough to make some composers not...
DemoingOne of the most frightening aspects of long distance scoring is that once you send off a demo, it's out of your hands. You relinquish all control over what type of system they are listening on, how loud they are listening, whether or not they've lined your cue up to the video in the right place, and so on. This is scary stuff, enough to make some composers not...
- 4/13/2010
- by noreply@blogger.com (SCOREcast Admin)
- SCOREcastOnline.com
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