I am happy to announce that I’m now an official writer for SCOREcast. My first post went up today, talking about how to make a cue small. I’ve attached an excerpt below. Enjoy!
When it comes to film scoring, size definitely does matter. The trend in big-budget Hollywood films has been toward a bigger and bigger sound—enormous string and brass sections and 20-person percussion ensembles, all backed by massive beds of synths and samples. But often, especially with indie projects, what’s required is a much smaller, more intimate sound. Even a modestly sized orchestra might be far too large for a quiet drama about a family, a couple or a child.
It’s important for a film composer to know how to match what’s happening onscreen not just musically, but also in terms of size, feel and scope. Scoring The Avengers with just acoustic guitar and flute would clearly be wrong, just as using the orchestra from Pirates of the Carribean to score Juno would have also been a mistake. In this set of posts I’ll explore various ways to get your cues to sound really huge or really tiny. I’ll start this week with making things small.
Film music tends to be sectional. A cue will be happy for a bit, then turn sad, then anxious. It’s the nature of the beast. Sometimes we want the changes to be abrupt, but sometimes the movie calls for a more invisible transition. I like to call this dovetailing. Just like in woodworking, dovetailing requires a carefully constructed overlap of two sections. Following is a quick tip for smoothly moving from one segment of a piece to the next.
Rather than allowing one section to end before beginning the next, start introducing elements of the later part into the first or vice versa. If your first bit has an eighth-note feel and your second is mostly whole notes, begin softly bringing in whole notes under the end of the first section. You can also fade the eighth notes at the end of the first part or carry them softly into the second to create more of a bridge and smooth the transition.
In my experience, dovetailing mostly involves the accompaniment. If one section uses arpeggiated figures in the background, carry those over into the other segment. If both parts use arpeggiation but of different types, change the arpeggiation before or after the section change. It’s really just a matter of gradually altering the accompaniment rather than changing it suddenly. It’s also easiest at first to focus on the rhythm. A triplet feel can slowly give way to a quarter-note pulse by gradually replacing triplets with quarter notes until you arrive at your destination.