The Grey Ending Soundtrack. (Composition Overview)

The Ending to the film 'The Grey' was chosen to be utilised for the final practical assignment of the project. The video would be used for the questionnaire and dissertation as well as the end of year showcase. Therefore the level of detail had to be greater than that of the practice based compositions previously created. The video had to be engaging and therefore it was decided , that the original dialogue and audio should be salvaged from the original 5.1 mix in order to make the composed music seamlessly interact with both sound effects and dialogue making the viewing experience more natural.

The video can be found at: https://www.dropbox.com/sh/srm4lkgb3a9cuo2/AABLeZGcJ8iiVm-l8N4Wtc8Da

Each Theme was written up as a score separately and then placed into one final score which detailed the correct spacing between each theme in relation to the video so that if it was played with real instruments the recording would fit perfectly to the visuals.

The film has emphasis on varying emotions, such as sadness, fear, anger and love, therefore the score had to emphasis each emotion within such a context that they would seamlessly merge and relate, allowing for a smooth transition into each thematic idea.

Theme 1 (Desolate Theme). 

This themes intent was to emphasis the locations emptiness and desolate atmosphere in which the character finds themselves in. Three instruments were utilised in order to produce this feeling, The Cello, French Horn and Piccolo, there characteristics and timbre added to the motif implied. The instruments played long sustaining notes with emphasis on dynamics and subtle volume control. This technique is seen in the case studies ' The Skeleton Theme' and 'Humanity Theme', where both composers utilised slow, elongated notations which provided tension and suspense through anticipation.

  Figure 1. Excerpt from Desolate Theme Score.

Theme 2 (Sad Theme).

The 'Sad Theme' plays throughout the longest scene in the video clip. It plays over a lengthy section which has minimal emphasis on sound effects and dialogue and therefore the music had to make the scene hold together and imply a motif without becoming boring. Therefore the theme was split into two section, the first a slow build up which utilises a piano as the main focus with underlying orchestra strings, the second parts focus on the orchestral string section without the piano. This change in focus should prevent the lengthy theme from appearing overstated and boring. Dynamics were also key in emphasising the emotions implied.

 Figure 2. Excerpt from Sad Theme Score.

Theme 3 (Wolf Theme).

The 'Wolf Theme' has the most drastic change throughout the piece as it transforms from the sad themes into an imposing and fear driven score. This was produced by creating dissonance in such a way that it related to the overall key of each theme, making the change drastic and unexpected which should challenge the listeners expectations and cause them to respond emotionally to this technique.  The theme was played over sections of sound effects and dialogue, therefore careful attention to dynamics was applied to the score, ensuring that the music never imposed and overthrew the main focus on 'Dialogue', 'Sound Effects' and 'Major Plot Points'. In these cases the music was intended to just be an underlying ambience which would alter the emotions of the viewers without them taking too much notice of the effect.

Figure 3. Excerpt from Wolf Theme Score.

Theme 4 (Wife Theme). 

The 'Wife Theme' had to provide the motif of love yet impose some elements of sadness and mournfulness, as it is established during this scene that the characters wife had passed away. This was achieved through the soft textures of the piano utilised for this theme. The emphasis on slow and mournful, sustained sound was presented throughout the piece, whilst ending on a resolution which provides a soft texture that shows the character finding inner piece and happiness derived from his memories.

  Figure 4. Excerpt from Wife Theme Score.

Theme 5 (Into The Frey Theme)

Appropriately named after the main emphasis of the film (The Poem, which crops up several times and is referenced throughout the film.) This theme is the final theme of the film clip and is where the character finally realises the underlying meaning of his fathers poem, which provides him with the courage to continue fighting for his life against all odds. This theme was the most drastically changed when compared with the original soundtrack. Its intent was to make as much of an emotional impact as possible to build up to a climactic ending and to feel bold and powerful. The theme emphasises the ferocity and brutality of the film and utilises powerful instrumentation to imply this motif. The theme is an alteration of the previously instated 'Wife Theme' showing that his reflections on the past have given him the courage to fight the alpha wolf. The alteration is in the time signature, changing from a 4/4 time signature to a 3/4 time signature, skipping the rest within he melody to speed up the theme, the more powerfully articulated piano parts also help the theme take on a new emotional disposition.

Each theme will be described in depth throughout the methodology section of the dissertation.

Question 10 Results (Survey Monkey)

Question 9 Results (Survey Monkey)

Question 8 Results(Survey Monkey)

Question 7 Results (Survey Monkey)

Question 6 Results (Survey Monkey)

Question 5 Results (Survey Monkey)

Question 4 Results (Survey Monkey)

Question 3 Results (Survey Monkey)

Question 2 Results (Survey Monkey)

Question 1 Results (Survey Monkey)

Questionnaire (Survey Monkey)

A questionnaire was prepared on 'Survey Monkey' to efficiently test the effectiveness of the grey video. The video was shown to 15 candidates, after the candidates watched my version of the soundtrack and the original, they answered 10 questions. The questions were then compiled into accurate data through the 'survey monkey' website.

Questions:

1. Have you had any musical experience? (Composing, playing instruments etc.)
2. How often do you watch films?
3. On a scale of 1 to 10 ( 1 being ' Not Important' and 10 being ' Essential). How important do you feel the music is with regards to emotionally emphasising the visual images on film?
4. Does the video clips soundtrack help covey your understanding of the plot?
5. On a scale of 1 to 10 ( 1 being 'Poor' and 10 being 'Excellent') How would you rate the relationship between visuals and music? (Do they compliment each other well?)
6. The video has several varying emotional themes which interlink with one another. On a scale of 1 to 10 ( 1 being 'Poor' and 10 being ' Excellent') How well do you feel the music transitions between the sad thematic ideas into the more fearful and tense sections?
7. Music is very important with regards to altering ones perception of a visual image or film. It can change the way we perceive an image e.g. The music can become potentially damaging if incorrectly used and not placed into context properly. Can you identify several of the emotions and feelings present throughout the clip? (Choose as many as required)
8. In comparison between the alternative piece (original clip), Do you feel the overall feel of the plot has remained intact? On a scale of 1 to 10  1 being 'Theme completely changed' and 10 being 'Theme completely intact'. 
9. Were there any parts throughout the piece in which you felt did not quite fit?
10. The final thematic idea of the video utilises a reoccurring melody which is previously intended to be sad and mournful. The motif is then written in a 3/4 time signature as opposed to its previous 4/4 time signature. This can be heard throughout the final scene of the clip. On a scale of 1 to 10 ( 1 being 'Poor' and 10 being 'Excellent' ) How effective was the technique at altering the overall mood of the piece?  

Sound Effect Creation

Some of the sound effect in 'The Grey Ending' clip were taken from the original piece, however this process was very difficult as it required a lot of editing and polishing up of sounds. Most of the sound effects taken had either unwanted noises or music in the background and this required a vast amount of processing and filtering to remove. In most cases this was almost impossible, therefore I decided to create the rest myself, making them as similar to the original as possible. Although the project is not aimed towards sound effects within film and solely focuses on the music aspect, I felt it was important to include some sound effects within the final project clip which would be utilised for the questionnaire and end of year showcase. The sound effects would allow the music to have more purpose and emphasis throughout the film, drawing upon  many of the researched literature which stated that the soundtrack has to blend in with the sound effects and dialogue and serve as a vehicle for emotional influence rather than a stand alone piece. They would allow the viewing experience to feel more natural and would present people with a clearer insight of the films plot.

Sound Effects.

1. Wind Sound Effects - Several wind ambience layers were produced in order to fill space between each musical theme and to prevent unnatural silence, the wind effects also provided emphasis on the films outside setting and added to the chilling atmosphere. The wind effects were produced by utilising various layers of pink/white noise filtered at varying frequencies. the filters were then automated back and fourth across the frequency spectrum of each recorded noise and subtle changes in volume were applied to provide a more authentic and realistic wind sound. 
2. Liam Neeson's Footsteps In Snow - There was a total of seven footsteps for Liam Neeson, each recorded and edited slightly differently to add to the authenticity of the film. The Snow footsteps were actually recorded on hard grass which provided a crunching sound similar to that of snow. The footsteps were then processed and mixed slightly to make them seem more realistic. several footsteps which were recorded were reversed and added to the beginning of other footstep effects to simulate the character dragging his feet across the snow before finally taking a step. This technique worked effectively and added to the realism. 
3. Wolf Footsteps In Snow -  The wolf footsteps were recorded and edited in the same way as the Liam Neeson footsteps. 
4. Hospital Equipment Beeping Effect - The hospital equipment sound effect beeps were recorded from an Audi Q7's reversing sensors alert call. The cars beeping sounded very similar to that of a heart rate monitor, therefore it was recorded and edited to suit the video. The spacing of each beep was adjusted to emulate the heart rate and the beep was slightly pitch shifted to a higher register.
5.  Hospital Drip Sound Effects - The drip sound effects were recorded by simply utilising a dripping tap which dripped into a basin of water, the recording was slightly altered in pitch and EQ was applied to emphasis the sound. 
6. Knife Stabbing Into Snow - The Knife sound effect was captured by stabbing a large kitchen knife into a bag of salt. the salt emulated the sound of the knife penetrating snow. The effect was slightly equalised but did not require much editing as the sound of the salt sounded very close to snow. 
7. Watch Beeping Sound Effect -  The watch beeping sound effect was the same sound as the hospital heart rate monitor effect, however it was pitch shifted several semitones higher to make it seem smaller.
8. Watch Shaking Sound Effect -   The watch shaking sound effect was captured utilising a metal watch. The watch was recorded being put on and the recorded clip seemed to fit very well with the piece. The sound was then equalised to fit better into the mix. 
9. Watch Clip Sound Effect - The watch clip was recorded alongside the shaking sound effects utilising a metal watch. The clip required no alterations to its sound. 
10. Bottle Sound Effects - When the character wedges bottles between his fingers in the latter part of the clip the slight sound of bottles tapping against his knuckles can be heard. This effect was produced by taking an empty bottle and lightly tapping on its neck. The sound created was very faint and therefore a high amount of gain was used in the recording process. This made background noises more prominent and therefore the effects had to be slightly filtered and cropped in order to remove these anomalies.
11. Tape Sound Effects -  The tape sounds were recorded using normal scotch tape, the sound emphasises the larger real of tape seen in the picture. The tape was recorded in time whilst watching the film as to emulate the characters movements. The effects were then processed and matched in time with the film. 
12. Glass Smashing Sound Effect - The glass smashing sound effect was produced by covering up a bottle with a dish cloth (to ensure safety) and smashed using a small bodied hammer. The sound of the glass fragments moving was also recorded. The smash sound was layered several times with each layer in the mix utilising different EQ settings to provide more punch and pop to the impact. the fragments of glass were then layered over the top after the initial impact to simulate the glass shards scattering. This effect was processed several times in order to make it powerful and realistic sounding. 

The listed sound effects and dialogue and sounds taken from the original clip can be found at :  https://www.dropbox.com/sh/1m8db7o1oiztlbj/JnUCnvsD1u

  

Analysis: Alien - The Skeleton Theme (Case Study)

Analysis: Alien - The Skeleton Theme.

The soundtrack to Ridley Scott's 'Alien' composed by Jerry Goldsmith is one of the most notable and renowned for employing the underlying motif of fear and horror. The theme 'The Skeleton' is utilised in the scene where the crew from the 'Nostromo' land on LV-426 after receiving a distress call. Some members of the crew explore the planetoid (LV-426) finding an unusual chamber filled with eggs and what appears to be a statue of a strange alien life form. The theme suits the visuals by presenting us with a tense atmosphere from the onset, and provides instrumentation which appeals to the setting of space and desolation.

This analysis will focus on the main melodic theme and the introductory build up. The theme has no scores written other than the handwritten notes prepared by the composer, these are very difficult to read and in some cases impossible, they would only be identifiable by the person who wrote them. Therefore parts of the musical score have been adapted by listening to the original recordings of the piece and by identifications within the handwritten works.

Introduction.

The piece has one sharp (#) therefore the key is E minor.

The Time signature of the piece is 2/4 simple time. The time signature is continuous throughout with no changes occurring.

The piece is written at a tempo of Andantino which means 'slightly slower than andante' It falls between 78 bpm and 83 bpm.

The introduction begins with an almost percussive phrase played on the Cello and Double Bass which has an echo effect added to it, this emphasises the setting of space as it provides a desolate, almost everlasting atmospheric effect.  

Figure 1.  Introduction. (Percussive Double bass and Cello Staccato notes over sustained violin)

The phrase is made up of two short stabbing 'C' and 'G' notes which slowly echo and decay, this phrase is accompanied by a long sustaining 'C' note on the violin which provides an unsettling tone utilising a vibrato technique to make the note seem unstable.

There is also a frantic violin section playing a flurry of notes back and forth to add to the tense atmosphere established by the introduction.

The swelling introduction is ended by a sharp bowing effect which is used as a jump scare effect (it is unexpected causing the listener to feel threatened). 

 Main Melody.

The main melody is composed of slow sustained notes played on the Bassoon. These notes are very smooth in texture, contrasting with the staccato string section which plays loud, aggressive and frantic notations presented in the introduction. The timbre of the Bassoon gives the music a very spacious sound, fitting into the context of desolation and space.

Figure 1. Main Melody (part one).

The Melody is broken into two sections, one shorter introductory section, which introduces the motif and builds a sense of tension, the second longer variation of the melody used to reinstate the  motif and tension.

The Melody starts on the note 'B' moving to the note 'A' and then finishing on the note 'B'. The 'B' is the fifth of the scale used and creates a sense of suspense, it requires resolution to the tonic of 'E' but when this expectation is not met it produces an emotional response which brings about tension and suspense.

Figure 2. Main Melody (part two).

The variation starts on 'B' and moves to 'A' like the introductory melody, but then moves to the notes of 'C' and 'F#' which leads the listener into believing the phrase will somehow resolve. However the note 'B' is then re-established as opposed to the tonic note 'E'. This technique alters the listeners expectations. The reinstatement of tension brought about by going back to the 'B' creates an even greater response than when the melody was initially established.

Extracting Dialogue and Sound Effects From Original Clip

Research was conducted via forums and community websites regarding sound effects and mixing, to see if it was possible to extract audio segments from movie clips. However it was concluded that there is no plug in which can extract individual sounds. Other alternatives were to utilise de-noiser plugins and a lot of equalisation and cutting to segment the sound as best as possible, however this meant that music which was present over the top of certain sound effects and dialogue could be heard.

The best solution devised by combining several results found through the research was to utilise the 5.1 surround sound mix from the original DVD. Most 5.1 mixes Centre the Dialogue whilst surrounding it with music and sound effects. This would mean that the centre channel of the mix will have a reduced amount of unwanted noises from overlapping music and effects. Therefore the 5.1 mix was split into several individual tracks within the free software Audacity (Pro Tools was unable to provide this feature without an upgrade to HD software). The center channel was then taken and chopped into sections where dialogue and certain sound effects were heard. These sounds were very clear compared to the stereo versions of the clip, however there was still times where the automated music and effects would bleed into the sound. Many tools were used such as De-noiser, EQ, Enhancers and Noise Reducers to remove these anomalies to the best that could possibly be achieved. Some of the soundtrack can still be heard in parts of the clips taken, however it is so faint that when played in the mix with the rest of the soundtrack it can not be noticed.

Not every piece of dialogue and sound effect could be taken and therefore some sound effects had to be created in order to fill in the gaps that were left.  

Literature Quotes (Audio-Vision)

Audio-Vision by Michel Chion

1. "Sound does have a means to suggest stasis, but only in limited cases. One could say that 'fixed sound' is that which entails no variations whatever as it is heard".
2. "Sound perception and visual perception have their own average pace by their nature; basically, the ear analyses, processes, and synthesises faster than the eye. Take a rapid visual movement - a hand gesture - and compare it to an abrupt sound trajectory of the same duration. The fast visual movement will not form a distinct figure, its trajectory will not enter the memory in a precise picture. In the same length of time the sound trajectory will succeed in outlining a clear and definite form, individuated, recognisable, distinguishable from others".

Three aspects of Temporalization.

1. "The first is temporal animation of the image. To varying degrees, sound renders the perception of time in the image as exact, detailed, immediate, concrete- or vague, fluctuating, broad".
2. "Second, sound endows shots with temporal linearisation. In the silent cinema, shots do not always indicate temporal succession, wherein what happens in shot B would necessarily follow what is shown in shot A. But synchronous sound does impose a sense of succession".
3. "Third, Sound vectorises or dramatisises shots, orienting them toward a future, a goal, and creation of a feeling of imminence and expectation. The shot is going somewhere and it is oriented in time".   

Questionnaire Results (Old Results)

Initially the questionnaire was undertaken utilising 16 candidates who handwritten their answers. The process was very slow and reflecting on the results, i realised that the answers were too vague, there was not enough variables in the test to provide an in depth understanding of the effectiveness of my video and made it difficult to find a conclusion to the experiment. Therefore a new test was devised utilising 'Survey Monkey'. The questions were altered slightly by utilising a scale based answering scheme rather than a four box answering method. This allowed for a greater variation in results and separated peoples opinions on the emotions reflected in the composition shown.

Old Questionnaire Results. 

Sound Of Cinema Documentary

I recently watched 'The Sound Of Cinema' 3 part documentary which was first seen on BBC4. The programme was hosted by Neil Brand (Composer and Musician).

The first episode looks into the roots of the film soundtrack showing how the classical orchestral scores influenced the film during the 1930's and onwards.

Link to first episode : http://www.dailymotion.com/video/x17m54t_sound-of-cinema-the-music-that-made-the-movies-e01_music

The second episode looks at how popular music has influenced the style of classic film composing. It looks at styles such as Jazz, Pop and Rock showing key features of each style of music which inspired modern film scores.

Link to second episode : http://www.dailymotion.com/video/x17m3ws_sound-of-cinema-the-music-that-made-the-movies-e02_music

The third episode looks into how evolving technology has changed the approach to composing films.

Link to third episode : http://www.dailymotion.com/video/x17m1qk_sound-of-cinema-the-music-that-made-the-movies-e03_music

Literature Quotes (Psychology of Music)

Psychology of Music by Carl E. Seashore.

Rhythm

1. "There are two fundamental factors in the perception of rhythm: an instinctive tendency to group impressions in hearing and a capacity for doing this with precision in time and stress". 
2. " The development of this ability results in power to handle vast numbers of sounds with ease, and this success is a source  of pleasure. And that is true, not only in poetry and in music, but in our natural hearing, even under primitive conditions. thus, Rhythm has become a biological principle of efficiency, a condition for advance and achievement and a perceptual source of satisfaction"
3. "Rhythm favours perception by grouping".
4. "Rhythm adjusts the strain of attention".
5. "Rhythm gives us a feeling of balance". 
6. "The sense of Rhythm gives us a feeling of freedom, luxury, and expanse. It gives us a feeling of achieving in moulding or creating".
7. "Rhythm gives us a feeling of power, it carries"
8. "It stimulates and lulls, contradictory as this may seem. Pronounced Rhythm brings on results in a mild form of ecstasy or absent mindedness, a loss of conciousness of the environment".
9. "Rhythmic Periodicity is instinctive". 
10. "Rhythm finds resonance in the whole organism. It is not a matter of the ear or the finger only; it is a matter of the two fundamental powers of life, namely, knowing and acting". 
11. "Rhythm arouses sustained and enriching associations".
12.  "Rhythm reaches out in extraordinary detail and complexity with progressive mastery".
13. "The instinctive craving for the experience of rhythm results in play, which is the free self-expression for the pleasure of expression". 

Loudness

1. "Volume as a musical characteristic of tone is a complex experience resting upon the frequency, the intensity , the duration, and the harmonic constitution of the physical stimulus, and largely influenced by associational affective, and motor factors in perception".

Pitch

1. "Pitch is the qualitative attribute of auditory sensation which denotes highness and lowness in the musical scale and is conditioned primarily on the frequency of sound waves".

Literature Quotes (Music and the Mind)

Music and the Mind  by Anthony Storr.

1. "Music has the effect of intensifying or underlining the emotions which a particular event calls fourth, by simultaneously coordinating the emotions of a group of people". 
2. " We are so used to hearing music throughout a film that a short period of silence has a shock effect; and movie-makers sometimes use silence as a precursor to some particularly horrific incident". 
3. " As Burrows points out, we are dependant on background sound of which we are hardly concious for our sense of life continuing. A silent world is a dead world". 
4. The Unmusical person, as one would expect, is less physiologically aroused than the musical person. Even in people to whom music means a great deal, responses vary with their mood".
5. " Rhythm is rooted in the body in a way which does not apply so strikingly to melody and harmony. Breathing, walking, the heartbeat, and sexual intercourse are all rhythmical aspects of our physical being".  

Literature Quotes (The Music Instinct)

The Music Instinct by Philip Ball.

1. " Before we can even start to ask how music creates emotion, we must wrestle with the conundrum of what 'musical emotion' means".
2. " Music can arouse all manner of passions, from anger to despair, even disgust, while remaining music to which we choose to listen".
3. "In contrast to moods, emotions are typically of shorter duration, often accompanied by distinct facial expressions, and most importantly, evoked by identifiable, specific stimuli rather than by a generalised ambience".
4. "When we see a sad film or read a sad book, we might be moved from empathy and identification by the experiences of the character. But if music can be said to be 'sad' (itself a simplistic description), in what does the sadness reside?".
5. " - in this respect, the brain might experience music as a kind of 'super-expressive voice'". 
6. "with anticipation comes tension - have we guessed right or not? - and that in turn carries an emotional charge". 
7. " 'Rhythm' . Certain purposeful violations of the beat are often exceptionally beautiful; wrote C.P.E Bach".  
8. "Musicians repeatedly use little signals to increase our confidence in our expectations and thus maximise the pleasure of their verification. This is why cadences are generally 'prepared' in classical music: their approach is clearly signalled. In rock music, drum fills and rolls serve this purpose in a rhythmic context as universally recognisable harbingers of change". 
9. "Another common trick for focusing harmonic expectation is the suspension. Here the movement from one chord to another is carried out in stages, as though one of the notes of the first chord has got 'snagged' while the others move".
10.  " Meyers himself was sceptical about formal, quantitative schemes for characterising the emotional structure of music, saying that ' what is profound about the experience of a listener is not the "deep structure" of a piece of music, but the power of the rich interaction of sound and silence to engage our minds and bodies, to give rise to feelings and to evoke associations".

Literature Quotes (This Is Your Brain On Music)

This Is Your Brain On Music by Daniel Levitin.

1. "Pitch is a purely psychological construct, related both to the actual frequency of a particular tone and to its relative position in the musical scale".
2. "In the same way that a particular arrangement of pitches- the scale- can evoke music of a different culture, style, or idiom, so can a particular arrangement of rhythms". 
3. "When we organise rhythms into strings of notes, of varying lengths and emphases, we develop meter and establish tempo".
4. "The neural basis for this striking accuracy is probably in the cerebellum, which is believed to contain a system of timekeepers for our daily lives and to synchronise to the music we are hearing". 
5. " As with pitch, small-integer ratios of durations are the most common, and there is accumulating evidence that they are easier to process neurally".
6. "But as Eric Clarke notes, small-integer ratios are almost never found in samples of real music. This indicates that there is a quantization process - equalizing durations- occurring during our neural processing of music time"
7. "Tapping along with music, either actually or just in your mind, involves the cerebellums timing circuits. Performing music - regardless of what instruments you play, or whether you sing, or conduct involves the Frontal Lobes again for planning of your behaviour, as well as the motor cortex in the posterior part of the Frontal Lobe just underneath the top of your head, and sensory cortex, which provides the tactile feedback that you have pressed the right key on your instrument, or moved the baton where you thought you did".
8. "If the car horn has a pitch of A440, neurons that are set to fire when that frequency is encountered will most probably fire, and they'll fire again when an A440 occurs in Rachmaninoff. But my inner mental experience is likely to be different because of the different contexts involved and the different neural networks that are recruited in the two cases". 
9. "Abrupt, Short, Loud sounds tend to be interpreted by many animals as a n alert sound; we see this when comparing the alert calls of Birds, Rodents and Apes. Slow onset, long and quieter sounds tend to be interpreted as calming, or at least neutral. Think of the sharp sound of a dog's bark, versus the soft purring of a cat who sits peacefully on your lap. Composers know this, of course, and use hundreds of subtle shadings of timbre and note length to convey the many different emotional shadings of human experience".   
10. "Being an expert musician thus takes many forms: dexterity at playing an instrument, emotional communication, creativity, and special mental structures for remembering music". 
11. "Being an expert listener, which most of us are by the age of six, involves having incorporated the grammar of our musical culture into mental schemas that allow us to form musical expectations, the heart of the aesthetic experience in music". 

A Geometry Of Music (Overview)

'A Geometry Of Music' by Dmitri Tymoczko provides an in depth look at more complex issues present in music composition such as harmony and counterpoint. The book aims to utilise a new approach to composing which expands upon the normal common practices implied by music composer and should allow for a new perspective and approach to the music creating and structuring process.

The book looks at:

1. The five components of tonality.
2. Harmony and voice leading.
3. Chord geometry.
4. Scales.
5. Macroharmony and centricity. 
6. Extended common practice.
7. Functional harmony.
8. Chromaticism.
9. Scales in 20th century music.
10. Jazz.

The complex nature of the topics discussed in the literature would be difficult to understand without basic knowledge of music theory and an understanding of how to use an instrument etc. It would be more beneficial to use the book as a supplement to other music theory books such as 'Music theory: for dummies' and ' Music composition: for dummies' as these books look at these topics in a more simplistic and traditional manner.   

Analysis: The Thing - Humanity Theme (Case Study)

Analysis: The Thing- Humanity Theme.

The soundtrack to John Carpenters 'The Thing' composed by Ennio Morricone utilises various compositional techniques to produce an effective tense and mysterious ambience which accompanies many of the scenes throughout the film. The theme is first heard when the characters initially encounter the mysterious creature (The Thing) and is used to not only build suspense and tension, but to also provide a mysterious ambience which arouses the listeners curiosity.

This analysis will cover the first section of the piece (Theme 1, 2 and 3) and its main thematic melody, showing various techniques and structures utilised by the composer. 

Introduction (Bars 1 to 11)

The key signature has 4 flats in it, A flat, B flat, D flat and E flat, therefore the key is either A flat major or F minor. The piece has a minor tonality therefore the key signature is F minor.

The time signature is a simple time signature 4/4. The time signature is continuous throughout the piece with no changes occurring.

The tempo is written as Andante Moderato meaning " between Andante ('walking pace' between 90 - 100bpm) and Moderato ('moderately' between 100 - 112bpm). Andante Moderato usually falls under 90 bpm - 100bpm. Therefore if the music is played between these tempos it will generally create the desired effect in which the composer intended the music to be heard.

The composition utilises the mode of G Locrian throughout its melodic phrases and long sustaining undertones. The introduction begins on the note G and sustains into the note A flat. This creates the interval of a minor second which produces immediate tension .

Figure 1. Violin Introduction. (Minor Second Interval)

This tension is further strengthened by the fact that the piece does not start on its tonic, which leaves the listener in a state of anticipation whilst trying to determine the tonal centre of the piece. This technique is produced because the tonic is not established as the first note of the music, it does not relate to our normal understanding of diatonic harmony until the tension is resolved to the key signature on the note F later in bar 12 where the second thematic idea occurs. The sustaining undertones performed on the violin are based around the notes G and A flat with subtle variations which embellish this progression. The Introduction is static and holds no tonal centre around the main key of F throughout bars 1 to 11, therefore it can be said that the first 11 bars of the piece are modal (their emphasis is on the modal quality of G Locrian as opposed to the tonal quality of F minor). The modal quality is emphasised by targeting the unique note (D flat) which separates 'Locrian' from other modes such as its closest relation 'Phrygian'. The flattened 5th note of the scale distinguishes the mode from other modes and scales based around 'G' with the flattened 5th producing a diminished quality throughout the progressions of the piece. This interval provides the music with its unique mysterious quality and produces the highest possible tension due to its nature (it has the highest amount of tension which wants to resolve to the tonic) 'Modal' music is not as commonly recognised as 'Tonal' music and therefore adds to the mysterious quality of the  films setting.   

  

Figure 2. Violin Progression (embellishment note of D flat establishes mode quality)

                                                                                                                                 

  Introduction (Melody).

The melody played over the violin introduction is delegated to the Harp, which is not a commonly used instrument and has an unusual and mysterious timbre which adds to the themes intent. The melodic phrase is very simple yet effective at producing tension as it utilises the interval of a minor second in a sequence pattern. The Phrase begins on the root of the Locrian mode (in this case G), and moves to A flat in a similar style to the sustained underlying progression of the violins (however utilising shorter notation whilst establishing a simple rhythm pattern over the static sound of the sustaining notes). The motif is then reinstated a perfect 4th higher from A flat ( C to D flat) which follows the minor second pattern present throughout the introduction. This phrasing repeats several times before ending the motif.  

  Figure 3. Harp Melody.

Bar '11' introduces Theme 1 to Theme 2 by utilising a short succession of notes that gradually build in pitch. This increases the suspense and tension which is required to make Theme 2 more impactful as it utilises a more dynamic instrumentation which adds to the feeling of distress and fear of the unknown.

Figure 4. Solo Violin (Linking Theme 1 to Theme 2)

Theme 2

Theme 2 further develops the motif implied by the introduction, however it utilises the scale of 'F' Harmonic minor as opposed to 'G' Locrian due to the raised 6th ('E' flat becomes 'E' natural) this can be identified from the composers use of accidentals throughout the progression of the piece.

The E natural note is sustained throughout the second theme by the violin section, this creates dissonance when layered against the notes played on the Bass Tuba. This style produces a great amount of tension as it still aligns with the minor second motif throughout the piece but uses it in such a way that it provides maximum suspension and requirement for resolution.

 Figure 5. Bass Tuba Progression.

The Double Bass Section Plays the notes F and E natural throughout the progression over the top of the Bass Tuba and Violin section.

The inclusion of the Double Bass and Bass Tuba give the piece a sense of impounding doom, the instrumentation adds a heavy texture to the simple progressions implied giving them a deeper emotional impact.

Theme 2 (Melody)

The main melodic motif dictated by the harp in the introduction is reinstated in the second theme, however it has been modified to accompany the more complex harmonic structure presented by the composer. The idea of moving in minor seconds up in pitch sequentially is still implied however the amount of steps in which the melody rises has been increased and an extra resolving section which descends has been applied to end the phrasing. The Descending pattern has an emphasis on the diminished quality produced by the backing instruments utilising the notes 'D' flat descending to 'G' which creates a 'Diminished 5th' Interval (The interval which defined the mode used within the introduction melody). This interval repeats twice on descent bridged by the notes 'A' flat to 'C' which is an interval of a minor sixth. This allows for a smoother transition down an octave in the sequence.

Figure 6. Harp Melody 2 (Ascending minor second intervals, Descending Diminished 5th Intervals)

Theme 3

The third thematic idea has no melodic phrase rather a continuation of the sustained notes found within the previous two sections of the piece.

Theme 3 is introduced by the violin section playing a sustained 'E natural' for 2 bars which blends into the other instrumentation throughout the second bar. A solo violin, French Horn and Bass Tuba accompany one another throughout the remainder of the theme.  

Figure 7. Sustained Notes Played on French Horn and Bass Tuba.

The French Horn plays a minor sixth harmony (A flat and C) alongside the Bass Tubas sustained octaves of 'C', the note E natural is once again introduced by the French Horn which accompanies the octaves of 'D flat' played on the Bass Tuba. This produces tension in a similar way to the previous sections. The progression then moves to the tonic of 'F' which is played on the French Horn alongside the sustained 'D flat' notes provided by the Bass Tuba. This provides the phrase with a sense of resolution.  The progression repeats with subtle variations in chord voicing to produce a more sinister undertone.

There are two main progressions throughout Theme 3, the second which expands upon the motif of the first progression summing up and resolving the piece.  

Figure 8. Second Progression (Establishment)

The second progression is broken up into two parts like the first progression. It contains an establishing phrase and a resolving phrase. However the second progression is not considered a new theme as it is a simple alteration to the motifs implied by the first and is a direct continuation of that idea.  The progression utilises the 'E natural' note once again to establish tension and suspense throughout the first section.

The second sections intent is to resolve the tension and move back to the tonic note of 'F' ( F minor) and therefore has a subtle variation compared to the first. The 'E natural' has been replaced with a 'G', this gives a sense of resolution which leads into the tonic.

Figure 9. Second Progression (Resolution) 

Orchestra Layout (For Mixing)

The Orchestra Layout was investigated in order to aid the mixing process, showing where each instrument is spaced so that the mix would have an authentic sound. 

The Grey Ending (Cue Sheet)

	Project Title: The Grey Ending	Sheet: 1
Time	Theme/ Sound	Duration	Comments
0:00:000	Dialogue (Sound effects in background)	0:24:875	Dialogue and sounds taken from original 5.1 mix.
0:19:370	Wind Effect 1	0:54:293	Use own created effect.
0:20:138	Theme 1	1:37:878	Mix should accommodate dynamics of score, allowing for a gradual build in intensity to produce a more dramatic effect.
1:42:389	Liam Neeson Footstep 1	0:00:842	Use own recorded footsteps.
1:43:562	Liam Neeson Footstep 2	0:00:970	Use own recorded footsteps.
1:44:554	Liam Neeson Footstep 3	0:00:538	Use own recorded footsteps.
1:45:344	Liam Neeson Footstep 4	0:00:592	Use own recorded footsteps.
1:46:389	Liam Neeson Footstep 5	0:00:538	Use own recorded footsteps.
1:47:232	Liam Neeson Footstep 6	0:00:501	Use own recorded footsteps.
1:48:160	Liam Neeson footstep 7	0:01:184	Use own recorded footsteps.
1:51:530	Wind Effect 2	0:54:293	Use own created effect.
2:14:314	Theme 2 (Sad Theme)	2:10:645	Mix should accommodate dynamics of score, allowing for a subtle, smooth and gentle sound, to accompany the motif implied.
2:02:875	Crouching Sound Effect	0:04:875	Use Sound Effects from original 5.1 mix
2:11:125	Bag Sound Effect 1	0:06:125	Use Sound Effects from original 5.1 mix
2:18:750	Wallets Sound Effect 1	0:04:172	Use Sound Effects from original 5.1 mix
2:28:500	Wallet Sound Effect 2	0:08:000	Use Sound Effects from original 5.1 mix
4:10:026	Wind Effect 3	2:09:962	Use own created effect.
4:28:863	Theme 3 (Wolf Theme)	1:39:094	Mix should accommodate dynamics of score, mix sounds loudest throughout most tense sections of scene, however should be subtle throughout the sections of dialogue and sound effects to draw attention to those aspects.
5:07:125	Wolf Growl Sound Effect 1	0:03:000	Use Sound Effects from original 5.1 mix
5:10:125	Wolf Growl Sound Effect 2	0:05:736	Use Sound Effects from original 5.1 mix
5:16:821	Wolf Growls Sound Effect 1	0:08:053	Use Sound Effects from original 5.1 mix
5:25:144	Wolf Growl Sound Effect 3	0:05:885	Use Sound Effects from original 5.1 mix
5:37:875	Wolf Growls Sound Effect 2	0:09:500	Use Sound Effects from original 5.1 mix
5:47:375	Wolf Whining Sound Effect	0:04:625	Use Sound Effects from original 5.1 mix
5:52:269	Wolf Growl Sound Effect 4	0:02:230	Use Sound Effects from original 5.1 mix
5:54:685	Wolf Breathing Sound Effect	0:00:658	Use Sound Effects from original 5.1 mix
5:55:750	Wolf Growl Sound Effect 5	0:01:625	Use Sound Effects from original 5.1 mix
5:31:375	Dialogue 2	0:01:062	Use Dialogue from original 5.1 mix
5:33:848	Vocal Effect	0:00:152	Use Dialogue from original 5.1 mix
5:35:500	Dialogue 3	0:01:750	Use Dialogue from original 5.1 mix
6:07:957	Theme 4 (Wife Theme)	0:46:925	Mix should accommodate dynamics of score. The mix should be soft , gentle and warm to compliment the motif.
	Project Title: The Grey Ending	Sheet: 2
Time	Theme/ Sound	Duration	Comments
6:25:749	Hospital Equipment Effect	0:08:490	Use own created effect.
6:28:954	Hospital Drip Sound Effect 1	0:00:101	Use own created effect.
6:30:768	Hospital Drip Sound Effect 2	0:00:293	Use own created effect.
6:32:560	Hospital Drip Sound Effect 3	0:00:293	Use own created effect.
6:26:560	Wind Effect 4	0:55:125	Use own created effect.
6:49:664	Wolf Growl Sound Effect 6	0:02:858	Use Sound Effects from original 5.1 mix
6:53:504	Wolf Growl Sound Effect 7	0:01:858	Use Sound Effects from original 5.1 mix
6:50:026	Wolf Footstep 1	0:00:586	Use own created effect.
6:50:816	Wolf Footstep 2	0:00: 602	Use own created effect.
6:51:648	Wolf Footstep 3	0:00:560	Use own created effect.
6:52:533	Wolf Footstep 4	0:00:678	Use own created effect.
6:53:354	Wolf Footstep 5	0:00:586	Use own created effect.
6:59:840	Theme 5 ('Into the Frey')	1:38:517	Mix should accommodate dynamics of score. The mix should sound big and powerful at this stage to reflect the characters emotions and the motifs implied by the soundtrack.
7:00:746	Knife Stab Sound Effect	0:00:680	Use own created effect.
7:01:802	Bag Sound Effect 2	0:00:450	Use own created effect.
7:02:442	Watch Beeping Sound Effect	0:11:776	Use own created effect.
7:04:618	Watch Shaking Sound Effect	0:01:184	Use own created effect.
7:05:845	Watch Clip Sound Effect	0:01:312	Use own created effect.
7:08:074	Bottle Sound Effect 1	0:00:330	Use own created effect.
7:08:714	Bottle Sound Effect 2	0:00:330	Use own created effect.
7:09:624	Bottle Sound Effect 3	0:00:160	Use own created effect.
7:07:957	Tape Wrapping Sound Effect 1	0:05:717	Use own created effect.
7:13:674	Tape Snapping Sound Effect 1	0:00:362	Use own created effect.
7:14:229	Tape Wrapping Sound Effect 2	0:02:848	Use own created effect.
7:17:077	Tape Pulling Sound Effect	0:00:501	Use own created effect.
7:17:578	Tape Cutting Sound Effect	0:00:256	Use own created effect.
7:19:109	Glass Smashing Sound Effect	0:00:853	Use own created effect.
7:21:706	Wolf Growl Sound Effect 8	0:03:413	Use Sound Effects from original 5.1 mix
7:22:922	Wind Effect 5	1:13:600	Use own created effect.
8:07:680	Attack Sound Effect	0:04:053	Use Sound Effects from original 5.1 mix