Hi, This is a tutorial piece to cover 3 composing tool concepts for you (explanation below). The theme was composed, orchestrated and arranged by me as inspiration for our Family dog Benji. This is because he is a "real hero" always getting into adventures, and some type of trouble, but pulling through and making us laugh / happy when the chips are down.
THE 3 COMPOSITIONAL TOOLS - used here in this composition are: 1) Setting a scene and introducing the theme slowly with a pedal tone (avoiding letting the orchestration build quickly and thereby avoid giving the listener everything at once only to repeat a theme with little space to provide variation) 2) Polytonality (& pedal Tones)- Polytonality is simultaneous use of 2 or more different (often clashing) keys played apart from each other in different instrument vibrational ranges. Using this over a pedal tone works (overly sustained route key or a note that is shared by the chords in your sequence). 3) Planing (sounds like plane - ing) which can be used diatonically or chromatically (meaning moving up a tone or thirds etc.. in either same minor or major chords but not both).
Now these techniques are often used in film compositions but were derived from the likes of Stravinsky, Debussy etc..where composers like John Williams and the like took their inspiration from.
NARRATIVE and USE OF TOOLS: The piece starts with tranquility on a pedal tone but with a sense of unease (just like when we start a dog walk) and then introduces the A theme softly at 00:16 (as he is let off the lead) we then quickly get into a sense of trouble (polytonality moving away from the key center at 00:34 and using planing 00:41 to return back to key) where the A theme takes off 00:52 and a slight B theme is introduced 01:13 in a different orchestrational style (now out of danger and just enjoying the countryside and fresh air with boundless energy). Once this resolves we quickly move to a sense of mystery and danger again with another set of polytonality , this time with a pedal tone, 01:50 (C# Major over C major) and planing whilst modulating up 3rds to a different key of F major. This is to re-introduce the theme once more 2:06 before finishing out with a flourish (Benji back home again and drop to the floor for a well deserved rest).
Because these techniques are used a lot in Sifi and adventure you will find them familiar - they are also used as fillers to stretch out a piece that needs to be re-cut for the scene with retakes. Now you know what they are you can perhaps focus on a score and spot them / use them yourself in your compositions...to add that little spice of wonder or mystery.
Lovely inspiration, Paul. I, for one, appreciate your detailed description. Very enjoyable - for me, the favorite part is the syncopated strings over an amabile theme. Transparent orchestration throughout!
Even if I can guess it, would have been nice to add time reference of the use of the 3 tools in your piece. As John said, I do appreciate the description and would like to have more like this one. Even more when it comes from you Paul. Otherwise, this has your unique signature, so well orchestrated, as usual.
Hi Both thanks for your comments - Thierry I have implemented your request below - also alluded to a 4 th technique of use of pedal tones whilst using polytonality.
Thanks for this. The time references certainly helped me follow the track. The use of Polytonality seems very useful for indicating danger. Any tips or demonstrations of orchestration are very welcome.
I wasn't far off in my thinking when listening to your intro ...said to myself ...a film composition! And then I read your description...wow! a few terms I had no knowledge of...makes me feel real small in the universe of music! You are miles over me in skill and capabilities! This composition is way way beyond me! Full of respect for you!
Hi Stan, Thanks for visiting and talking the time to listen and try and take these techniques in. I'm so sorry this made you feel so small that was not my intention. It was to provide the community with knowledge and insight into widening their own pallet when it comes to compositional approach. Don't be frightened just test them out and happy to help if required.
I'm not much of a music theory and my background and influences are too entrenched in mid-to-late 20th century Western pop sensibility to fully grasp the techniques you've illustrated here, but I can definitely hear the intent of each part, thanks to your excellent write-up. Thank you for sharing -- it's definitely appreciated.
And yes, the pupper is a cute pupper.
Benji is able to leap over tall buildings, I imagine and by the expression on his face, I am sure he was overjoyed by this composition you created so majestically.
Hi Paul,
This piece has a full bodied sound and a variety of themes that are excellent examples of effective film scoring techniques. It’s generous of you in taking the time to detail how you accomplished all this. A very helpful tool for any aspiring film composer young or not so young to learn from.
And I enjoyed the music as well.
Thanks my friend.
Cheers.
