Thursday, 27 April 2006

Scoring Pictures: Part II

In this second part of my scoring pictures feature. I'm releasing the second soundtrack suite (MP3) (composed and performed by Barrie Cole & James Makin) from December Duet and address the use of non-diagetic sound.

For this production I had always desired and envisaged an emotive classical score. Rendered in the tradition of American film composers such as Eric Wolfgang Korngold who pioneered the swashbuckler scores for early Hollywood, up to present day practitioners such as Danny Elfman and Jerry Goldsmith. Who, themselves, had drawn inspiration from Tchaichovsky and other baroque composers of the 19th Century.

Although in the original story, there was to have been a song with which to resolve the drama. The composer decided to renege on his commitment, which, initially had an adverse affect. However, although disillusioned, I submitted, at the suggestion of my tutor (Mik Parsons), a script to a local art college for approval. It proved to be very productive. I auditioned two individuals who were very receptive to the story and its themes. Their enthusiasm was consolidated when I showed them the opening computer animation.

Whilst they worked, independently, on scenes. The end result was that both the characters of Lewis and Claire/Eleanor had, their own, individual and highly stylised scores. This further delineated and embellished their respective identities. This musical form is refered to as Leitmotif. This briefest of signature tunes, which can be orchestrated any which way, was pioneered by the 19th Century virtuoso Richard Wagner. Wagner's most famous accomplishment was The Ring - four full-length operas that depicted dwarfs, wizards, dragons, teachers, philosophy and gold.

This approach to composition has been used, extensively, by cinematic composers to signify, a character, a prop or an emotion.