January 5, 2012

Many of my clients and collaborators preface their notes to me with "I don't know much about music, so forgive me if I'm using the wrong terms…" 

They think that they need to have some kind of special training or vocabulary to describe what the right music for their project.  And this is a commonly held belief among the wider public about music: talking about music is shrouded in mystery and faraway languages. 

But that's all wrong. 

You don't need to know Italian, German or music theory or "music appreciation" to convey to your composer what you are looking for.  Any terms work, and it's up to your composer to develop a common lexicon with you that you both understand.  You might want something that is "edgy, new, a little like Trent Reznor, but with a more hopeful quality".  And it is the composer's mission to turn that into something that hits the mark. 

By using scratch music, common reference tracks, and multiple sketches, before long your composer should know exactly what you mean when you ask for something "sunny with a hint of sinister".  More importantly he should know what to change when you say, "That's too much like a romantic theme.  It needs to be bolder."

Undoubtedly, you already are doing these things to communicate with your composer or music editor.  The important thing is that you not hold back from throwing out any terms that come into your mind when you are describing what the music to do in a cut.  As you know from writing, "go for the jugular".  The same goes for giving notes to your composer.

The more richness and depth you can give in your direction, however it is conveyed, the more nuance your composer can impart to support your story. 

Any composer who looks down on using "non-musical" words hasn't yet shed his conservatory ego or figured out how to get out of his own way.  He is trying to prove something best proven by sharp ears.

January 3, 2012

It was like being at camp for six weeks.  Where I usually work alone for many hours in a dark studio, for Snow Queen I was surrounded by amazing people every single day.  All day.  Where I usually send cues off to clients via ftp, for Snow Queen, I could watch the director and actors alike as they reacted to how my music fit (or didn't fit) with a scene.

And now I miss it!  It was such a thrill to be out in the world everyday, performing to sell-out houses for the whole run, taking a bow, working with actors young and old.  Everyone I worked with for the last two months was extremely giving, committed, supportive and talented. It filled me with purpose and joy!

But now, as with all works of ephemeral beauty, the Snow Queen has gone away.  The set is struck.  The cast has gone on to their next thing.  The interns and other staff at the theater are busily preparing the next production.

And I prepare my next project, ready to put all the heart that went into the live show into this next round of television work.  See you next time, Snow Queen!