He performed a piece called “Solo for Amplified Window“, which he describes in his blog at this link:-

http://joemariglio.com/spring09/thesis/solo.html

Foley sound means when a composer uses everyday sounds for film. For example using the sound of an electric toothbrush to represent a drill on screen. These sounds have best results when the source of the sound is unrecognisable to the viewer. Walter Murch, composer and sound designer uses foley sound in the majority of his works, compositions for films such as ‘On Rain People’ and ‘The Godfather Two’. http://filmsound.org/foley/murch-on-foley.htm.

For this task I have created and found these foley sound  and used them to represent the machines in this scene. In the scene I used:-

• Air Burst from a dental tool
• Bus Door Opening
• Ripping a paper bag
• a Bug Zapper
• A Door Slam shut
• A Printer
• An Electronic Toothbrush
• Hand Cuffs clicking closed
• Car Break
• A drill Starting up

I also added a atmospheric Abandoned Factory Sound for effect.

Here is my task for Terminator Two:-

https://dl.dropbox.com/u/21489514/Terminator2finishd.mov

Here is the REDONE version of Terminator Two Scene. I have added in the other machines you cannot see on screen:-

http://dl.dropbox.com/u/21489514/Terminator2redone.mov

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My objective for this task was to create foley sound to the given scene from Terminator Two. I wanted to highlight every movement the machines did and the terminators did. I did this by synching each sound in time to the visuals for a very real effect. I adopted Walter Murch’s foley sound approach and so I used around ten different recorded and found sounds to incorporate into my given scene. These sounds consisted of an Air Burst from a dentist tool, bus door opening, a bug zapper, a door slamming shut, a printer, an electric toothbrush, hand-cuffs clicking closed, a car break and a drill starting up. For this task I did not apply any new musical or audio techniques. This task is an example of practise as research in that I am creatively exploring foley sounds and learning how to incorporate them into my given scene for this task. This is evident as I have successfully used foley sounds to represent the different actions that are happening in the scene and have also put them in time with the visuals well. I would give myself a 2.1 for this task as It has met my criteria and I believe it’s a successful task.

References

W. Murch (2011), Walter Murch on DIY Foley, FilmSound.org. Webpage found at: http://filmsound.org/foley/murch-on-foley.htm. Last accessed on 24/03/2011.

For this given scene I am going to change Newman’s piece called “Root Beer” to my own. I want to use the same instrumental elements he uses in his compositions for this film because I want my score to fit in with the film as a whole and not just in this particular scene. In American Beauty Newman’s instrumentation consists of:-

- marimba, xylophone, tablas, banjo, ukulele, detuned mandolin, steel guitar, ewi, and piano.

‘It has characteristics of new age world music, which effectively conveys the alienation that suburbia inflicts upon the film’s characters.’ (Filmtracks, 2008)

‘Signatures of Thomas Newman’s music are his use of tuned percussion, distinct melodies, and the use of piano in more sombre moments’. (A. Green, 2011)

Here is the my score to the given scene American Beauty:-

http://dl.dropbox.com/u/21489514/task%206%20american%20beaut%20finished.mov

Here is the REDONE score to American Beauty:- (IS THis Better?? )

http://dl.dropbox.com/u/21489514/american%20redone%20task%20six.mov

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The objective for this task was to create a score using percussion instruments to the given scene from American Beauty. I wanted to highlight the body movement of Angela when she’s slow dancing and use silence between shots from her to Lester to give off a tense yet erotic motion. I have taken Thomas Newman’s compositional approach of using tuned percussion instrumentation and adapted this to my own. I have applied these approaches by using tams, triangle, cymbal, timpani’s, bass drums, snare and a percussion kit.

( I had not applied any new audio or musical techniques in this task): I have applied XXXXXXXXXX

This task is an example of practice as research in that I am creatively exploring tuned percussion and how to adapt it effectively into my task. This is evident as the tuned percussion I used highlights different elements and creates build ups and an erotic tension between Angela and Lester well. I would give myself a 2.1 for this task as the use of tuned percussion instruments in this scene worked effectively and has given me pleasing results.

References

A. Green, 2011, Thomas Newman, the New York Times Company webpage found at: http://classicalmusic.about.com/od/classicalcomposers/p/thomasnewman.htm. Last accessed on 22/03/2011.

Filmtracks, 2008, Thomas Newman, webpage found at: http://www.filmtracks.com/titles/american_beauty.html. Last accessed on 22/03/2011.

Task Five: Dark Knight scene with Woodwind

http://dl.dropbox.com/u/21489514/task%20five%20woodwind.mov

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Redone Task Five to Psycho

By creating the woodwinds on top of my original score for The Dark Knight scene, I had found my woodwind instrumentation wasn’t as effective as I had hoped. I decided to use Hitchcock’s Psycho scene instead and compose the woodwind sections as more subtle yet effective parts. In this Psycho clip I have added subtle flute oboe and english horn into the original score I had created for task three:-

http://dl.dropbox.com/u/21489514/task%20five%20woodwind%20psycho.mov

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My objective was to orchestrate with woodwinds to a given scene. In this scene I wanted to highlight the tense build up from when the police car reverses to park behind Marion’s car, to the scene where he is staring through her car window. I decided keep my original score for this Psycho scene, and so keeping the adaptation of compositional techniques of Bernard Herrmann. The added woodwind instrumentation adds a more layers and depth to the score which gives it more effective build ups and build of tension in the scene. For this task I had not used any new audio techniques or musical techniques, but I had learnt the ranges of the different woodwind instruments which made my score more realistic. I had also learnt that Woodwind  instruments are mainly used for more subtle sections in an orchestra rather then being the dominant instrument. My score is practice as research in that and creatively exploring woodwind instrumentation and how it is used in an orchestra. This is evident in my task as I have kept within the ranges of the different woodwind instruments, using them subtly yet effectively in my task. For this task I would give myself a 2.1 because I have adapted an original score with woodwind instruments that have given me a positive and effective outcome.

References

Woodwind Chart, 2011, Webpage found at: http://www.mti.dmu.ac.uk/~ahugill/manual/ranges/woodwind.html. Last accessed on 02/03/2011.

The Treble Rebels, 2011, Musical Instruments: Woodwind, Webpage found at: http://library.thinkquest.org/15413/instruments/woodwinds.htm. Last accessed on 02/03/2011. 

Hitchcock’s movie North by Northwest was scored by Bernard Herrmann in 1959. Herrmann uses a full orchestra for this score and ‘its rich with musical and structural examples of Herrmann style (Herrmann, case study). From listening to the music in the film I wanted to try and keep this orchestral music going in the scene, and concentrate mainly on the brass sections as the task implies. I got a lot of inspiration from Herrmanns music in this film and other soundtracks by other artists such as D. Elfman and J. Williams. A few examples that helped me get ideas for my score for North by Northwest was the track from Sleepy Hollow that I have previously mentioned in my blog called ‘The Chase’.  Another example is a piece from the Tomb Raider Legends game soundtrack called ‘Lost city’, where the music isnt as such from a chase scene, but the ostinato’s in the piece and the use of orchestration was very inspiring because it is up-beat, changes key constantly to keep it interesting and changed timing as well. Here is the track so you can hear what I mean, the parts in particular that got me hooked was the build up at the beginning to the climax at 0.40″, and from 4.17″ to 4.40″, and then from 5.19″ to the end of the piece :-

http://dl.dropbox.com/u/21489514/06%20Lost%20City.mp3

My Score To the given scene from North by NorthWest

In this score I have used all brass instrumentation with the accompaniment of a pizzicato violin.

Here is the link to my score:-

http://dl.dropbox.com/u/21489514/northbynorthwest%20Try%20two.mov

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My objective was to create a score to the given scene from North by Northwest using mainly brass instrumentation. The visual elements I wanted to highlight in the film was when the plane swoops down by Cary who is running away from it, the chase itself, when Cary falls over and when he is hiding from the plane in the corn field. I wanted to highlight these parts in the film clip because I thought they were the most important parts that happen on the clip and I wanted to emphasise them. I wanted the music to be constantly changing pitch and key, and use lots of dynamics like Herrmann does in his compositions. I used all brass instruments and an accompanying pizzicato violin for effect. I adopted Herrmanns compositional techniques by researching orchestration and brass instrumentation and using these findings in my work: I used a call and response method between trumpets and violin, ostinato’s through the main section of the film clip and using trombones and french horns dynamically to create build ups and tension in the score. One technique I had not used before was exploring and using the EX24 plug-in in Logic more and learning how to make a instrument sound as realistic as I can and not having it sounding obviously midi. I did not learn any new musical techniques as such for this task, just the new findings of EX24 plug-in and learning how to make a midi instrument sound like a real life instrument. My score is a practise of research in that I am creatively exploring brass instrumentation and exploring more Hitchcock composing techniques. This is evident in my task as I have creatively used some of Hitchcock’s techniques such as the use of call and response between instruments, dynamic changes and build-ups, and emphasising visual elements on the clip by setting my score specifically to do so. I have made my brass instruments sound realistic though Logic and by keeping to the brass instruments’ note ranges. For this task I would give myself a 2:1 because I believe I have met my criteria and have created a score that emphasises the given scene and received pleasing results.

References

http://www.filmscorerundowns.net/herrmann/north_by_northwest.pdf

herrmann case study http://hitchcock.tv/essays/herrmann/herrcase1.html

Composer Bernard Herrmann scored to the 1960 Hitchcock film Psycho. In this score Herrmann only uses string instruments in his score for this film and uses techniques such as stabbing chords, legato notes, pacing melodies and uses layered string notation to create suspense. A compositional technique he uses in this score is called ‘Tritone usage’ which is the usage of interval jumps. ‘You find tritones in Psycho quite a lot. This includes the “Psycho Prelude” (C-F#), “Parlor” (D-Ab), “Murder” (D-G# and G-C#), “The Knife,” and so forth’ (Wrobel, 2008). I found a PDF which has step by step information of the score to Psycho. It explains about Herrmann’s approach to the film, and what he does in the score through out. It explains about the famous ‘Hitchcock stabbing chords’, ‘Sigh Motifs’ and indepth information about ‘The Psycho Theme’. The pdf can be found at : http://www.bernardherrmann.org/articles/misc/transformation_of_the_psycho_theme/transformation_of_the_psycho_theme.pdf.. From watching the film and studying Bernard Herrmann’s music in it, I found that he uses certain compositonal techniques and I have tried to adopt this approach in my task by creating the piece as if it was going to be used in the film. This meant that my score had to fit in with Herrmann’s score.

Here is my score to the given scene from Psycho:-

http://dl.dropbox.com/u/21489514/PSYCHO%20music%20n%20movie%20first%20go.mov

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My objective for this task was to create a score to the police scene in Hitchcock’s Psycho. I wanted to create tension in this score by building up the music from when the police car stops, reverses, gets out of his car and knocks on Marions car window. The visual elements I wanted to highlight in this scene was this shock Marion had when being woken up to a police man. I adopted Herrmanns composition approach to this score. After watching the film Psycho a few times and tracing Herrmann’s Psycho Suite I learnt that he uses a range of string techniques and has a set composition style for Hitchcocks Film. For this task I tried to keep to this style of composing as close as possible, so if my track was added into the film it would fit. I did not use any new audio techniques as such, but learnt about Herrmann’s approach to composition and I tried to include this in my work. This task is a practise of research in that I am creatively exploring Bernard Herrmann and his score to the given film Psycho. From studying his scoring techniques I found out that he uses a range of techniques in his compositions such as using trills on violins, using staccato and legato notation and layering instruments. This is evident in my task as I have used these techniques in my score and have received pleasing results. I would give myself a 2:1 for this task as I believe I have met the criteria of the task and have created good results.

Redone Scene PSYCHO

I have adapted my score for this given scene in Psycho by thinning out the first section and adding more layers in the second part. These are only subtle changes but I think they are effective.

Here is my Redone Scene for Psycho:-

https://dl.dropbox.com/u/21489514/redone%20task%20three%20psycho.mov

References

Sound in Psycho, 2011, Filmsound.org. Webpage found at: http://www.filmsound.org/articles/hitchcock/- Lassed accessed on 19/02/11.

B.Wrobel, 2008, The Nature of Bernard Herrmann Webpage found at : http://www.bernardherrmann.org/articles/misc/nature001/   Last accessed on 19/02/11.

Psycho Suite Trace

I started scoring this scene by using a piano and working out scales, chords and rhythms. I decided I wanted to have a fast pacing first section which would reflect on Batman driving through the mall at a fast pace, a build up in the second section when Batman and the Joker are head to head in their vehicles and then finish on high notes when Batman flips Jokers lorry upside down, to make the crash of the lorry when hitting the ground sound very dramatic.

For the first section I used a small motif that repeated and modulated, and builds up melodically. The motif started on a G major, which consisted of G B D F, G B D C sharp.

This short motif was then modulated to G sharp minor, then C sharp major, C major, C sharp minor and ending on a held E note. I then built up layers in this section by doubling up the motif. When I add in the orchestra instrumentation I would do this by using dynamic changes through the section so different instruments could be heard at different times. I also built up the layer by changing the note values like Elfman does. For example, instead of having four quavers play, I would have two crotchets play, and when I have two crotchets play, I would have a minim play etc.

For the second section I went up the piano through two octaves chromatically, starting on a low E,  bringing in different layers and a harmony starting on the third interval G. I changed the pace faster and faster until the climax hit when the lorry  starts to flip and I end on a high D sharp.

My Score Structure: Piano

From this, I added orchestral instruments such as violins, string section, trombone, french horn and a viola. I build up layers in the two sections like I had previously planned to see how it would sound if I ended up scoring this for orchestra, like Elfman does in his scores for film. This was my result:-

Chase Scene Score: Orchestral

Adapting my Piano Score

From listening to my piece a few times over, I found the first section too repetitive. I decided to change it by cutting the first section in half, keeping the first part but changing the second part. I did this by playing the same chords I had used before, but playing them as ascending and descending arpeggios, with hard chord hits after a few arpeggio runs. I changed the pace of the chord arpeggio changes quicker and quicker until he stops after leaving the alley. I believe this small change in the score breaks up the repetitive motif and gives the score more depth and interest.

Here is my adapted Piano Score

Chase Scene from The Dark Knight Score to Film

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My objective was to create a soundtrack to the chase scene in the film The Dark Knight. For this score I decided to adopt Danny Elfmans composing approach to film by making the music set with the scene (shown on ‘My Influences for Task Two’ blog page). I decided to use his idea of creating multiple layers of motifs and using dynamics for effect, along with build ups in the music and changing note values. There were no new audio techniques used in this score, I used audio techniques I previously learn’t from my first task. I did not learn a particular music technique through doing this task, but adapted my knowledge of panning and changing dynamics between the different layers. This task is practise as research in that I am creatively exploring Danny Elfman and studying his previous scored works such as my examples from Sleepy Hollow, The Nightmare Before Christmas and Corpse Bride. These scores I studied shows me that he uses build ups, dynamic ranges and modulation. This is evident in my task as I have explored and adopted Elfmans build ups to suit my given scene, modulated and changed dynamically between my piano instrumentation. For this task I would give myself a 2:1 because I believe I have met the criteria and my score fits the scene well.

Danny Elfman, like most film composers, creates scores that sets the emotion for film scenes. I’ve chosen Elfman in particular because he is one of my favourite composers and I believe he does this brilliantly. Elfman uses orchestral instruments in most of his works he has done, such as the scores to films ‘Sweeney Todd’, ‘Sleepy Hollow’ and ‘Black Beauty’. He uses orchestration to set the mood and emotion of the given scene, along with melodies, pace and chords. I looked at scores in which he uses fast pacing music to emphasis something thats happening on screen which is either dramatic or like a chase against time, so I could relate, get inspired and get some ideas together for my given chase scene.

Examples of Elfman Setting dramatic and chase against time scenes, using orchestration

Elfman scored the music for Tim Burtons Corpse Bride, and in one of the scenes in the film, everyone is rushing around trying to put together a wedding which was going to be taken up to the land of the living. Elfman’s score to this scene, which he called ‘The Wedding Song’, uses orchestral instruments and makes the music pacing, building up dynamics and melodies until the climax at the end when they get to the land of the living and all hell brakes loose! Unfortunately I am unable to get this scene onto my blog, but when watching the Corpse Bride you can hear the build up Elfman creates in this wedding preparation scene and how it makes the next section in the film more dramatic. Here is the piece Elfman composed for this scene:-

Elfman scored the music for Tim Burtons The Nightmare Before Christmas, and in one scene, Jack Skellington is in his sleigh delivering toys to children on christmas eve. Elfman’s score to this scene which he called ‘Christmas Eve Montage’ uses fast pacing music when Jack is flying over towns and when the children have opened their presents to find something horrible inside. He uses the same techniques he used in Corpse Bride, which was adding build ups, dynamic changes and he changed pace throughout the scene, to break the scene up a bit. Unfortunately I could not get this scene onto my blog, but once again when watching the film look out for this scene and watch how the music works well with the scene. Here is the piece of music Elfman composed for this scene:-

Another scene which I think is the closest I have found yet, is from Sleepy Hollow. Elfmans music for a chase scene between the headless horseman and Johnny Dep uses all the techniques from the previous two examples, but its more fast pacing, extreme and dramatic. I am unable to get the scene on here, but here is the music for this scene, which Elfman called ‘The Chase‘, It starts at 6 mins 19 seconds on this clip:-

This particular scene is where I got my influence from for my chase scene. I wanted to set the mood, have fast pacing music and use layers or motifs and dynamics until the climax at the end of the scene where the Jokers lorry flips over. I wanted to use Elfmans techniques from this Sleepy Hollow scene, along with the other two scenes I mentioned previously.

Theme Tune: D Major

The theme tune is in D major, and consists of the notes A, C, D, C, F sharp and A.

Variation One: D Major to D Minor

The first variation is the theme tune changing from the tonic D major to D minor. I have also changed the second to last note from a crotchet to a minim. This consists of the notes A sharp, C, D, C, F and A.

Variation Two: Key change to E Harmonic Minor

The second variation is a key change up a tone from D minor to E harmonic minor, as I prefer this scale to a natural E minor scale. I have also changed the second to last note to a minim instead of a crotchet, for variation. This consists of the notes A, C, D sharp, C, F sharp and A.

Variation Three: The E Minor to it’s Relative C Major

In the third variation it is the relative major to E minor. This consists of the notes A, C, D, C, F and A.

Variation Four: D major’s Relative Harmonic B Minor

In this forth variation, I changed from theme Tune’s D major to it’s relative B minor but I changed from the normal B minor to it’s harmonic as I prefer the sound of the scale. This consists of the notes A sharp, C sharp, D, C sharp, F and A sharp.

Variation Five: Changing the Rhythm of the Harmonic B Minor

In this fifth variation, I have changed the rhythm of the harmonic B minor.

The Theme Followed by its Five  Variations

Final Piece

Here is my final piece for task one:

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My objective was to compose a theme tune and create five different variations of it. From being inspired by Danny Elfman and the other composers I have previous shown you on my blog (under ‘My Influences’) I decided to adopt their approach by adding layered instrumentation to the score and vary the timing of a few of my variations of the theme tune, like Danny Elfman does with his theme tune for ‘Batman’. I used string sections, a choir and a harp in my score and used a call and response method between the harp and the string section in the beginning of the piece. I have applied the audio technique of using the piano score in Logic to score out my melodies, which I have not used properly before. This proved a little challenging but I was pleased with the results. I learned a few music techniques in doing this task, such as re-learning how to work out relative majors and minors and working out suited key changes. This task is practise as research in that I am creatively exploring music theory and how chords and melodies link in with one another. This is evident in my task as I explored and created working relative major and minor scales, along with working variations that flow from one to another. I would give myself a 59% mark as I believe I have met my objective and have created a successful piece using music theory and creating five variations of my composed theme tune.

Adapting Task One

I adapted task one by changing the rhythmic values of my variations. I also added a wider range of instrumentation, such as a trombone, french horn and violins. This has made my task better because its now more varied and it uses a wider spectrum of instruments, all of which Danny Elfman uses in his works such as ‘BeetleJuice’, ‘Alice in Wonderland’ and ‘The Nightmare Before Christmas.’ From adapting my piece I would now give myself a 2:1 because I believe I have met the criteria of the task and now improved the piece.

Final Finished Composition

Resources

http://library.thinkquest.org/15413/theory/intervals.htm