film music weekly · composers, and the earle hagen workshop, offered for more than a decade under...
TRANSCRIPT
ISSUE 27 • AUG 22, 2007 • Published weekly by Global Media Development Group, Inc. • Publisher: Mark Northam • Editor: Mikael Carlsson • www.filmmusicmag.com
weeklyFILM MUSIC
MORE INSIDE:p:9 signings & projectsp:10chart Doctor:conDuct
Yourself accorDinglY part 2
p:11the scoreBoarD
n Using Chopin as an elegant starting point, Joel McNeely’s score ranges from the striking use of strings and classical piano to surreal samples and haunted voices. It’s a combo that nicely echoes such classic thriller scores as Michael Small’s Klute, Jerry Goldsmith’s Coma and Christopher Young’s Copycat. p:6
Earle Hagen, one of the industry’s most pro-lific and well-respected TV and film composers, has signed an exclusive worldwide administra-tion deal with Spirit Music Group, as announced by Mark Fried, CEO of Spirit Music Group. The pact marks Hagen’s first administration deal in more than six decades of composing.
Under the deal, Spirit will represent more
than 3,000 scores and themes composed for such classic TV series as The Andy Griffith Show, The Dick Van Dyke Show, Mod Squad and I Spy, for which he earned an Emmy award for Best Theme in 1967. The New York-based indepen-dent music publisher will market and promote Hagen’s classic TV themes for synchronization for new film/TV uses, ring tones, and games, as
well as for new creative uses in recordings, mixes and sampling.
“Earle Hagen’s vast catalog contains some of the most familiar themes and score pieces of the 20th Century,” said Fried. He added, “We are honored to be working with Earle in re-purposing these compositions for licensing into a wide array of traditional and non-traditional media.” p:3
EarleHagenInksContentDealwithSpiritMusicGroup
APMMusicSignsContentDistributionDealwithAMUSEEntertainment
Leading music library APM Music has signed a joint digital and mobile distribu-tion agreement with AMUSE Entertainment Group B.V. to deliver its music catalog to AMUSE’s global distribution network.
The pilot phase of the pro-gram will see the initial in-
gestion of 500 tracks specifically selected from APM’s vast catalog which includes libraries such as KPM, Bruton, Sonoton, Carlton, Kosi-nus, Electronic Arts and many more for a total library consisting of over 225,000 tracks.
“APM is excited to have tracks from our diverse catalog also distributed to online and mobile channels through the extensive range of solutions provided by AMUSE,” said APM Mu-sic President, Adam Taylor.
AMUSE will provide APM distribution of its content initially through the mobile chan-nels it powers, and then expand into new third party and digital channels over the course of the next 12 months. Additionally, AMUSE will leverage its ad agency relationships to in-tegrate APM content into interactive mobile
TopComposersinConcertinGhent
Four of Hollywood’s most in-demand compos-ers right now will take part in the concerts tak-ing place at the Flanders International Film Festi-val in Ghent, Belgium, on October 18-20.
By Mikael Carlsson
The festival has announced that Harry Gregson-Williams (Shrek, The Chronicles of Narnia, Kingdom of Heaven), Gustavo San-taolalla (Babel, 21 Grams, Brokeback Moun-tain), Mychael Danna (Little Miss Sunshine, 8mm, Girl Interrupted) and Alberto Iglesias (The Constant Gardener, Talk to Her, All About My Mother) will perform and conduct selections from their film scores during the event, which closes the 7th World Soundtrack Awards. The winners of this year’s awards will be announced on October 20, during the clos-ing night of the festival.
More info at http://www.worldsoundtracka-wards.com
BioShockComposerFuses20thCenturyMusicStyles
Composer Garry Schy-man was asked to push the envelope and avoid musi-cal clichés when he scored the new critically acclaimed video game BioShock. The challenge resulted in a score where the composer created a new compositional style with
elements of aleatoric techniques, 12-tone mu-sic and musique concrete. p:4
marketing and promotions campaigns. Under this agreement, AMUSE will provide APM with complete transactional transparency and control over both its content and permissions relating to distribution by territory and channel. AMUSE’s platform will manage distribution relationships in the AMUSE network and APM will receive consolidated reporting on usages and transac-tions on their content assets.
CDReview:IKnowWhoKilledMe
Adam Taylor
Garry Schyman
Mychael Danna
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Film Music Weekly and its logo are trademarks of Global Media Development Group, Inc. All Rights Reserved. Entire Contents © 2007 Global Media Development Group, Inc
weeklyFILM MUSIC This�Week�on
FMRFILM MUSIC RADIO
ON THE SCORE
MARKETA IRGLOVA AND GLEN HANSARD
Film�music�journalist�Daniel�Schweiger�interviews�MARKETA�IRGLOVA�and�GLEN�HANSARD�,�the�singers,�and�stars�of�the�indie�
musical�hit�ONCE.�
TUNE IN HERE!
ISSUE��7�•�AUG.��,��007� 3weeklyFILM MUSIC
THE A-LIST
TOP AGENCIES The most prolific film music agencies according to the current U.S. box office statistics, August 17-19, 2007:
1. First Artists Management – $53.0m • Superbad (Lyle Workman) - $31.2m • Rush Hour 3 (Lalo Schifrin) - $21.8m
2. Kraft-Engel Management - $29.3m • The Bourne Ultimatum (John Powell) – $19.0m • The Invasion (John Ottman) - $6.0m • Hairspray (Marc Shaiman) – $4.3m
3. Gorfaine-Schwartz Agency - $19.0m • The Simpsons Movie (Hans Zimmer) - $6.7m • Stardust (Ilan Eshkeri) - $5.2m • Underdog (Randy Edelman) - $3.6m • I Now Pronounce You Chuck and Larry (Rupert Gregson-Williams) - $3.5m
4. Cool Music Ltd (UK) - $3.5m • Harry Potter and the Order of the Phoenix (Nicholas Hooper) – $3.5m
5. Soundtrack Music Associates – $3.0m • Becoming Jane (Adrian Johnston) – $3.0m
6. Air-Edel (UK) – $2.6m • The Last Legion (Patrick Doyle) - $2.6m
Source: IMDb
FILM MUSIC NEWS
Earle Hagen, one of the industry’s most prolific and well-respected TV and film composers, has signed an exclusive world-wide administration deal with Spirit Mu-sic Group, as announced by Mark Fried, CEO of Spirit Music Group. The pact marks Hagen’s first administration deal in more than six decades of composing.
Under the deal, Spirit will represent more than 3,000 scores and themes com-posed for such classic TV series as The Andy Griffith Show, The Dick Van Dyke Show, Mod Squad and I Spy, for which he earned an Emmy award for Best Theme in 1967. The New York-based independent music publisher will market and promote Hagen’s classic TV themes for synchroni-zation for new film/TV uses, ring tones, and games, as well as for new creative uses in recordings, mixes and sampling.
“Earle Hagen’s vast catalog contains some of the most familiar themes and score pieces of the 20th Century,” said Fried. He added, “We are honored to be working with Earle in re-purposing these compositions for licensing into a wide ar-ray of traditional and non-traditional me-dia.”
Hagen has gained acclaim for his popu-lar TV themes and scores, but is also noted for the musical innovation that character-ized his work. For two decades, Hagen was the resident musical director for legendary TV producer Sheldon Leonard. Other se-ries for which he provided the theme music include The Danny Thomas Show, Gomer Pyle, Mayberry RFD, The Barbara Stanwyck Show, That Girl, The Dukes of Hazzard, The Don Rickles Show and Mary Hartman, Mary
Harman, among others. Two of his books, Scoring For Film (1971)
and Advanced Techniques For Film Scoring (1990), have become must-reads for modern composers, and The Earle Hagen Workshop, offered for more than a decade under the auspices of BMI and the National Academy of TV Arts and Sciences, provided specialized instruction in the art of film scoring. Hagen also received BMI’s Richard Kirk Award for Lifetime Achievement.
EarleHagenInksDealwithSpiritMusicGroup
Earle Hagen
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FILM MUSIC NEWS
BioShockComposerFuses20thCenturyMusicStyles
Interview by Mikael Carlsson
“At first I was not sure just how different they wanted the BioShock music. However, the audio director rejected the first few ideas I came up with and kept urging me to push the envelope further. It became quite clear that she really meant it when she said she wanted something unique. I finally came up with an approach that she and I both loved and worked perfectly with the games completely original look and feel. I combined a number of differ-ent styles of music from the early and mid 20th century to create what I believe is a whole new compositional style. Although the cues differ one from another, typically I would write an ee-rie aleatoric background against which I would overlay solo stringed instruments playing 12-tone, atonal and quasi-tonal melodies. To that I would add elements of musique concrete (the technique of using sounds from the real world) often digitally modified, which might just be
eerie or more likely both cre-ate mood and evoke a place in the game for the various levels or decks. Finally there is a very sad and melan-choly theme that occasionally en-ters to portray the utter tragedy of it all.”
The music also has several classical music references to both Rachmaninov and Shostakovich. What elements of the game do these parts underscore?
“I was asked to score a number of ‘scripted events’ for the game. These events unfold in real time but are not in-game mov-ies in the sense that the player can choose to walk away from them. However, they usually are important to see at least once be-cause they help the player prog-ress in the game. One event was a solo piano piece that is written
by a fictional character in the game who hap-pens to be a composer. Your character walks into an auditorium and the composer plays it for you on a grand piano on a stage. I decided to write the piece in the style of late Rachmani-nov with a taste of Scriabian because, though it is the middle of the 20th century, he is a fairly reactionary person and I decided this is what he would write. The piece is very complex and was a challenge to compose but very rewarding. It made me feel like a ‘real’ composer, as I told my agent! It was also a challenge to record be-cause it was virtuosic in style. The pianist had his hands full – thank God for Protools! The Shostakovichian piece is a mini violin concerto that accompanies the player as they descend into the ocean’s depths in a bathysphere. Origi-nally I wrote something very dark and scary but we decided that it was too on the money and I wrote the concerto-esque piece instead. Martin Chalifour, the principal concertmaster of the LA Philharmonic, played it and did a marvelous job with the flowing melodic lines.”
Do you feel that game scores tend to sound too uniform these days? In what di-rection do you feel game scoring is going?
THE COMPOSER SPEAKS
Composer Garry Schyman was asked to push the en-velope and avoid musical clichés when he scored the new critically acclaimed video game BioShock. The chal-lenge resulted in a score where the composer created a new compositional style with elements of aleatoric tech-niques, 12-tone music and musique concrete.
(Continued on pg.5)
BioShock is an unusual score in that you created a very unique style of composition for it. Can you please explain what you did and what it was in the game that triggered your creativity and led you in this direction?
Composer Garry Schyman breaks new musical ground with his score for the critically acclaimed new game BioShock.
Garry Schyman
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“There are a lot of games out there that are similar and composers are being asked to emulate scores from successful games. The same thing happens with movies and TV shows. So that is true of all these genres and if you go back and listen to the scores from films from dif-ferent eras you will find the same has always been true. I don’t really have a crystal ball about which way game scoring is going. I will say that unlike TV and films, the way music is implemented in games is constantly evolving and being challenged by the need to be interac-tive and by the advancing technology. That influences things quite a bit. As far as scoring styles are concerned I would like to think that my BioShock score will go a little ways towards opening up the para-digm a bit to the point that when a developer has produced something that is really different they will be open a truly fresh approach.”
Did you ever feel that you went too far out with your score and did you have any difficulties convincing the producers that this unconventional music – perhaps the Altered States of game scores – of yours was right for the game?
“Well that is an interesting analogy in that Corigliano’s music for Altered States is so wonderful. I have never met a composer who doesn’t love that score because not only is it amazing music but, it’s perfect for the film. I remember the day I came up with the approach and mocked a cue up for the audio director and sent it to her. Her response was ‘That’s it! That’s the BioShock sound.’ And I knew it when I wrote it. So no, I did not have to convince her that it was right for the game – because she was pushing me all along to create something special and we both knew it once I found it. The rest of the creative team was very busy with the enormous technological and creative challenges of the game so they left us alone. By the time we played it for them they were quite literally blown away and just said ‘Wow, that is frickin’ perfect.’ We went out on a limb, I suppose, but we were both so convinced that this was the way to go that we just kept at it without worrying too much. I suppose had we been wrong we both would have been sacked!”
Do you think that the world of game scoring is a more in-teresting place to work in compared to movie scores? Cre-atively, what are the main differences?
“I don’t know if I would describe it as more interesting, but cer-tainly as interesting and challenging in different ways. For me it has been wonderful because I have been asked to write such unique stuff. The two genres have a lot in common in that it’s music that helps the listener suspend disbelief and become more immersed in what-ever they are watching. Film music, however, is locked to picture and is only heard once. Games are not linear in that sense and un-fold in unique ways depending on a player’s decisions – so the music needs to be interactive and change with game play. That is taken care of in each game by the unique way the music will be implemented. Sometimes the composer will be involved in implementation choices and other times we’re just asked to write the music based upon how they’ve already designed implementation for sound and music. Addi-tionally, players may end up playing the game dozens if not hundreds of hours so they may hear the music over and over. That means that the music has to account for that. The main difference is that you’re not locked to picture and that can be both a curse and a blessing. Though I am usually scoring to in-game movie captures to get a feel for the mood of that part of the game, I am not locked to picture so I am not catching anything in particular. Over choice can set in and make decisions challenging! Game music is a little more like concert music in that sense.”
FILM MUSIC NEWS
6� ISSUE��7�•�AUG.��,��007 weeklyFILM MUSIC
NEW SOUNDTRACKS
IKnowWhoKilledMeOUT THIS WEEK
NEW Blades of Glory (Theodore Shapiro) – Lakeshore
NEW Gracie (Mark Isham) – Lakeshore
• The Legend Trip (Leigh Phillips) – Film Music Downloads (online)
• The Toybox (Miguel d’Oliveira) – Film Music Downloads (online)
NEW War (Brian Tyler) – Lions Gate
AUGUST 28
• Balls of Fury (Randy Edelman) – Varèse Sarabande
• Prison Break (Ramin Djawadi) – Varèse Sarabande
• Shoot Em Up (Paul Haslinger) – Varèse Sarabande
SEPTEMBER 11
• The Brave One (Dario Marianelli) – Varèse Sarabande
NEW Dragon Wars (Steve Jablonsky) - Milan
• Stardust (Ilan Eshkeri) – Decca
SEPTEMBER 25
• The Kingdom (Danny Elfman) – Varèse Sarabande
NEW Michael Clayton (James Newton Howard) – Varèse Sara bande
NEW Sea of Dreams (Luis Bacalov) – Varèse Sarabande
OCTOBER 2
• The Monster Squad (Bruce Broughton) - Intrada
OCTOBER 9
• Haunting Villisca (David James Nielsen) – MovieScore Media
OCTOBER 23
NEW Superman: Doomsday (Robert J. Kral) – La-La Land
ALBUM REVIEW
By: DANIEL SCHWEIGER Soundtrack Editor
Composer: Joel McNeely Labels: Varèse Sarabande Suggested Retail Prices: $ 16.98 Grade: B+
COMING SOON!
Recently, the Academy of Mo-tion Pictures decided to ban “for your consideration” soundtrack promos from potential voters. The argument was for them to stop judging scores as stand-alone listens, and to see how they actually worked in the body of the film. Given that argument, those voters will probably never hear how good the soundtrack for I Know Who Killed Me is. But then, the only award consideration this Lindsay Lohan flick will probably be up for is the Golden Razzberry. Thankfully I’m a soundtrack critic who gets to hear lots of scores for films I’d never see in a million years. And as far as potentially terrible movies go, Joel McNeely’s work on I Know Who Killed Me is so enthralling that it might make me want to go see this picture.
Fortunately, I’ve never had a thing for watching Lindsay Lohan as a double-am-putee stripper. So I can put my brain into its own fantasy zone, where McNeely’s score conjures up a far more interesting, and en-thralling noir world than what it actually accompanies on screen. McNeely just might be the best-kept composing secret in Holly-wood. In his terrific scores for Terminal Ve-locity, The Young Indiana Jones Chronicles, Star Wars: Shadow of the Empire, Soldier, Virus, The Avengers and his assist to Jerry Goldsmith on Air Force One, McNeely has shown that he’s a writer of tremendous me-lodic range, creating music that’s easily as good (if not better) than the bigger, busier composers who’ve gotten far more successful pictures. And if they say that the best musi-cians should put their all into even the most misbegotten film, then Joel McNeely is proof positive of spinning gold from any flick. In the case of I Know Who Killed Me, McNeely must be King Midas.
Like the far more popular Kiss the Girls, the murderer here has a taste for music – in this case the piano (which I know after read-ing I Know Who Killed Me’s IMDb spoilers). Using Chopin as an elegant starting point, McNeely’s score ranges from the striking
use of strings and classical piano to surreal samples and haunted voices. It’s a combo that nicely echoes such classic thriller scores as Michael Small’s Klute, Jerry Goldsmith’s Coma and Christopher Young’s Copycat. But while McNeely deftly pays homage to these masters of soundtrack suspense, he’s definitely his own composer for I Know Who Killed Me, showing an astonishing com-mand of his score’s diverse, psychological approaches.
Where sampled effects often equal harsh, annoying dissonance in soundtracks like this, McNeely truly makes them work in a psychologically complex way. A standout is a discombobulated, metallic wind-up sound, one that comes across like the cranking han-dle of a music box whose tune is about to go very wrong. Lyrical piano keys are twisted inside out to convey the music-driven killer. Sharp sustains dance about exotic percus-sion, all conveying a very troubled, if beauti-ful mind. It’s a creepy, yet poetic vibe that meshes nicely with McNeely’s far more ac-cessible orchestral passages.
Indeed, one doesn’t expect this kind of musical art from a torture-horror Lindsay Lohan stripper flick. But critical reaction and box office have nothing to do with how well a score works within a movie. And if there’s one musical case for not judging a book by its tawdry cover, then it’s I Know Who Killed Me. Here’s hoping that Hol-lywood can see the vast forest of Joel Mc-Neely’s talent beyond the very big tree of Lindsay Lohan’s career wreckage.
Click�here�to�buy�I Know Who Killed Me�soundtrack
Courtesy�of�iFmagazine.com
8� ISSUE��7�•�AUG.��,��007 weeklyFILM MUSIC
MUSIC TECHNOLOGY AND YOU
Catching Up With Music Tech TECHNOLOGY
By�PETER�LAWRENCE�ALEXANDER
Stocks – The Week That WasFor those who have investments, last week
was brutal on music technology stocks. Accord-ing to the Sonic Control Music Tech 23, which tracks the music technology stocks that im-pact everything from education to production, gains were minimal for the week ending Au-gust 17, 2007. Top five gainers for August 13th through August 17, 2007 were THQ (THQI) up $1.47, Steinway Musical (LVB) up $0.49, Loud Technologies (LTEC) up $0.48, Make Music (MMUS) up $0.36, and Freehand Systems (FSYI) up $0.01. Top five losers were Apple (AAPL) down $6.26, Kaman (KAMN) down $2.09, Sony (SNE) down $1.99, Harman Inter-national (HAR) down $1.82, and Avid (AVID) down $1.73.
AUDIO IMPRESSIONS
Audio Impressions has announced that their new DVZ package for strings is scheduled to ship by October 17th and is now booking or-ders. The company has formed a relationship with VisionDAW which is providing a turnkey systems package.
AVID/DIGIDESIGN
Following a very successful public beta pro-gram, Digidesign has announced that its high-ly anticipated Structure™ professional sam-pler workstation is now shipping. Available for $499 USD, Structure is the latest RTAS® virtual instrument plug-in developed by the acclaimed Advanced Instrument Research (A.I.R.) group.
Structure ships with a 128-level multit-imbral universal sound engine, an integrated multi-effects processing engine including con-volution reverb, and support for an unlimited number of nestable patches and up to 8-chan-nel interleaved samples. Structure features 20
GB worth of comprehensive, premium factory sound libraries from EastWest and A.I.R., in-cluding Quantum Leap Orchestral Elements. Also included is a 30-day trial of Goliath — Structure Edition, EastWest’s 40 GB pro-fessional sound library. It also allows users to work with their existing sound libraries by providing support for importing SampleCell, EXS24, and Kontakt 1 and 2 sample libraries.
Optimized exclusively for Pro Tools®, Structure directly integrates with the Pro Tools audio engine allowing users to drag and drop Pro Tools regions directly into Structure, and to control multiple facets of the sampler with a Digidesign® control surface (or a MIDI controller). Its fully resizable, built-in Sample Editor enables fast and easy waveform editing and sample mapping while a powerful data-base and integrated file browser make it easy for users to find and load any sample.
Structure can be purchased at authorized Digidesign dealers and on the DigiStore (http://store.digidesign.com) for $499 MSRP (USD). For a limited time, Digidesign is offer-ing owners of the older Soft SampleCell work-station an opportunity to purchase Structure at a special upgrade price of $199 USD.
ILIO ENTERTAINMENTS
Geoffrey Gee; pianist, composer, and for-mer Senior Soundware Engineer at Kurzweil Music Systems; has announced the release of Plectrum – a virtual instrument library featuring 185 original acoustic instruments, powered by Tascam’s GVI streaming sample playback engine. Plectrum is a creative work of instrument design. Gee created his instru-ments from sounds made by plucking, strum-ming, tapping, scraping, and flicking a range of stringed instruments and found objects. Col-lecting thousands of full-length, high-resolu-tion samples, he voiced and tuned the sounds into full-range, keyboard instruments. Instru-
ments are presented in nine categories based on the sound source: Strummed Strings, Struck Strings, Plucked Strings, and String Harmon-ics; Glass, Ceramics, Metals, and Found Ob-jects; and Habitats. Each instrument features a round-robin playback that creates the organ-ic feel and texture of an acoustic instrument and a high polyphony streaming audio engine powered by Tascam’s GigaStudio Virtual In-strument. The product works with VST, RTAS and in standalone mode. It is available for PC only, a Macintosh version is expected.
SONiVOX
SONiVOX (formerly Sonic Implants), has announced a new series of problem/solution sample packages available as a direct down-load from the SONiVOX site. All the 29 librar-ies are provided using Tascam’s GVI player. Prices range from a low of $11.95 to $79.95. Libraries available are:
• Atsia Bass Drums• Atsia Bells• Atsia Shakers and Snaps• Atsia Talking Drums• Blue Jay Large Ambient 1 and 2• Blue Jay Small Ambient 1 and 2• Blue Jay Loose Drums• Clavinet• Dynamic Acoustic Bass• Fender Precision Bass• Fender Stratocaster Dvi• Fender Telecaster Dvi• FM Piano• Harpsichord• Heavy Pick Bass• Highland Bagpipes• Les Paul Guitar• Martin Acoustic Guitar• Mellotron Vintage Synth• Ramirez Nylon Guitar• Session Brush Drumkits• Suitcase Electric Piano• Symphonic Ensemble Brass• Symphonic Ensemble Strings• Symphonic Harp• Talkback Guitar• Wurlitzer Electric Piano
Demos are available for all packages – PC only for now.
� ���n Peter Alexander is preparing to score The Good Samaritan. His most recent books are How Ravel Orchestrated: Mother Goose Suite, and Professional Orchestration. He has also written White Papers on music education.
ISSUE��7�•�AUG.��,��007� 9weeklyFILM MUSIC
FILM MUSIC NEWS
SIGNINGS & PROJECTS
Matt�Messina:�Juno
n Juno, a drama comedy starring Jennifer Garner, Jason Bateman and Mi-chael Cera, produced by John Malkovich, will get an original score by Matt Messi-na, a composer who has been writing film scores since the turn of the millennium. His previous credits include last year’s independent The Bondage, and he also has a film called The Least of These on his future schedule. Juno is directed by Jason Reitman (yes, he is the son of Ivan), whose previous film was the acclaimed Thank You for Smoking, and will be distributed by Fox Searchlight for release in December. mc
Christopher�Lennertz:AlvinandtheChipmunks
n Christopher Lennertz, whose credits include Soul Plane, The Deal and Dr. Dolittle 3, has been hired to compose the original music for Alvin and the Chip-munks, the new theatrical feature based on the 1980s TV cartoon series. The film is directed by Tim Hill (Garfield 2: A Tail of Two Kitties) and stars Jason Lee, Jane Lynch and the voice of Ross Bagdasarian Jr. as Alvin. 20th Century Fox is planning on a release on December 14, targeting family audiences during the holiday season. Lennertz recently scored The Simpsons video game and also has the film scores for The Comebacks, The Perfect Christmas and Hunting and Fish-ing coming up. He is also continuing work on the TV series Supernatural. mc
OPENING THIS WEEK
THEATRICAL
• Dedication (Ed Shearmur)
• Eye of the Dolphin (Alan Derian)
• The Hottest State (Jesse Harris)
• Mr. Bean’s Holiday (Howard Goodall)
• The Nanny Diaries (Mark Suozzo)
• Resurrecting the Champ (Larry Groupé)
• September Dawn (William Ross)
• War (Brian Tyler)
DIRECT-TO-DVD
• The Far Side of Jericho (Mark Adler)
• Full Moon Fables (Alan Lee Silva)
• The Galindez File (Patrick Doyle)
• Grindin’ (Damone Arnold)
• Treasure of the Painted Forest (Steve Yea man)
Frighteningly beautiful – beautifully frightening!Music Composed, Orchestrated and Conducted by
CHRISTOPHER SLASKIAlso featuring music by Trevor Duncan • Available now on CD and online!
MovieScore Media presents the Original Motion Picture Soundtrack
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THE CHART DOCTOR
Conduct Yourself Accordingly Part 2
By�RON�HESS
A few weeks ago, we examined ways to im-prove your stick technique as a conductor. Re-member, your job is to find ways both to hold your players’ attention and to control their ac-tions and style to suit the demands of the mu-sic while using the least studio time. Let’s look at a few more.
We’ve all seen them: conductors who beat time with a monotonous sameness all the way through; same size and style of beat pattern, same intensity (or lack thereof), same posture – sort of the conductor’s version of Johnny-one-note-on-the-kazoo. Since in a sightreading en-vironment most of the communication between conductor and ensemble is through peripheral vision (which isn’t nearly as acute,) is it any wonder that such conductors get “tuned out” by their players?
Since your job is to silently spoon-feed the maximum amount of information and detail possible to your players, it’s absolutely criti-cal that you foster and maintain that magical “hanging-on-my-every-gesture” sense of en-semble concentration. Therefore, you must de-velop a true variety of gestures, beat-patterns, postures, and general styles and have them at your constant disposal. Once developed, you must then intelligently relate them to the needs of the music you’re conducting. The more and the better you do both, the greater your value on the podium.
For instance, if the music is sharp and an-gular, you can signal and reinforce that with a beat pattern that’s much more pointed. For a quick approach to finding such a style, in ad-dition to the string trick I taught you before, try thinking of how it feels to pound nails. For heavy, ponderous music, pretend you are pounding big ones. For light and precise ges
tures, think of tapping extremely small ones with a tack hammer.
For variety, when the music is smooth and lyrical, you’ll need more fluid gestures. One of the best ways to quickly smooth out your con-ducting style was taught to me by Frederick Fennell, the legendary bandmaster of the East-man Wind Ensemble. Go to a swimming pool and practice your conducting patterns while standing neck-deep in water. Notice how you are forced to glide from beat to beat and how easily you develop a smooth follow-through to your gestures. Done this way, it is almost im-possible to be too jerky or spasmodic, especially on large, dramatic gestures.
For another level of visual variety, vary your overall size and posture with relation to your dynamics. Obviously, when the music needs to be big, so do you. And not just in an absolute sense, but more importantly in the ratio be-tween the size of your biggest podium presence and your smallest. However, you frequently need to instantly squash the dynamic level and there is no better way to instantly grab your players’ attention and make them “clam up” than to suddenly drop down at the waist and/or knees and beat time about two feet lower (and 75% smaller) than you were. Remember, as with most things musical, contrast can be a powerful device. Use it.
Another element which works like gang-busters in a multitude of situations is the “dead brat.” This is a beat pattern which has absolutely no dramatic or body-language force behind it. Look in a mirror and conduct a small beat pattern measured in centimeters, not feet. Pull your left hand out of your pock-et and hold it in front of you, with it and the rest of your body absolutely motionless. Move
only your conducting hand and your eyes. This works great for free (preparatory) clicks prior to the downbeat and sections where the whole ensemble is either resting (common with over-dubs) or playing an incredibly long sustained tonality (common with a lot of scores being done lately). Its value lies in its utter lack of energy, making it the black hole of conducting gestures, practically daring someone to break the tension by committing the ultimate faux pas of a “premature articulation.”
As with all new techniques, use a video camera on yourself to understand the style and to gauge your progress. (Be careful in that pool, though.) You should be able to incorpo-rate these devices pretty quickly, but you can spend a career developing more and under-standing their effect. How you mix and incor-porate them will go a long way toward defining your “style.”
With an eye toward both increasing your ensemble control and getting the most done in the least time, we’ll revisit these topics often. When everything clicks and the silent two-way communication works, I sometimes marvel that they pay me to have so much fun.
But don’t quote me.
n Ron Hess works as a studio conductor, orches-trator, copyist and score supervisor in Los Angeles, where he’s well-known for his quick ability to ferret out the most hidden performance problems and spot score glitches rapidly. He holds a Master’s Degree from the New England Conservatory, and is consid-ered one of the top Finale experts in Los Angeles.
Email Ron at [email protected]
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Film Music Weekly only lists scoring assignments that have been confirmed to us by official sources. The list is limited to feature film scoring assignments. New additions are highlighted in red print. Edited by Mikael Carlsson. Updates should be sent to [email protected].
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