Indigo Inventions

Why The Best Music Terms Aren’t Music Terms

Hans — Thu, 05 Jan 2012 17:11:48 +0000

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.

Snow Queen Closes After Sold-Out Run

Hans — Wed, 04 Jan 2012 03:11:26 +0000

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!

Only Three Performances Left of Snow Queen

Hans — Fri, 23 Dec 2011 06:05:21 +0000

I can't believe that this run is almost over. It has been a wild ride that has included illness, diagnosis, recovery, lots of soup, and many, many hours creating and playing the score for this Portland Stage winter show. We've done 31 performances, I think, and brought a lot of joy to our audiences, both young and old. I've done a lot of scoring to picture over the last few years, and when I do that, the work is done when it's mixed, and then it's over. Performing live is a whole different ball game: I only have one instrument (the piano) and every night, I find new things I want to stick in there, new connections made across the narrative, and new differences amidst the many iterations of the same scripted show. There are new themes to refine and connect, and new glitches in my admittedly non-virtuosic piano skills.

I'm really going to miss it when we close on Saturday, 12/24.

This kind review has more information…

Where words fail, music speaks

Hans — Fri, 23 Sep 2011 16:04:16 +0000

Hans Christian Andersen (1805 – 1875)

I found this quote as I'm doing research on 19th Century Danish music. I'm composing music for the upcoming Portland Stage production of Snow Queen, authored by Andersen, and adapted by Anita Stewart.

He also said, "life itself is the most wonderful fairy tale." I could use some help buying into that one at the moment.

Selected Opens

Hans — Tue, 20 Sep 2011 16:53:21 +0000

Here are some opening clips from programs I've worked on in the last year:

MUSIC ONLY MIX:	BROADCAST MIX:
Underwater Universe: Predators	Underwater Universe: Predators
Nova: Secrets Beneath the Ice	Nova: Secrets Beneath the Ice
Ghost Ships of the Great Lakes	Ghost Ships of the Great Lakes
Star Clock B.C.	Star Clock B.C.
City Under the Sea	City Under the Sea

(The "Music Only Mix" contains just music with picture. In the "Broadcast Mix", music takes a backseat to all the other audio content that makes the story move forward.)