No Letting Go – Pacing the Score
No Letting Go Work Diary Entry
As I am working on a cue this morning I am thinking about a few things as I make compositional decisions.
Writing a scene you should always keep in mind where you are in the film, in the arc of the story and the characterâ€™s development. How you play scenes early in the film will be different than when itâ€™s the filmâ€™s denouement, for example.
This particular scene I am scoring is an important moment for the main character and the story. Things are getting under-way to resolve the filmâ€™s central problem.
However, itâ€™s early in the film and, as in all stories; things will get worse before they get better. So I need to consider that in the tone of my cue.
I therefore aim to balance those two aspects:
- Things are getting under way towards eventual resolution
- Itâ€™s not the resolution yet!
So understanding how this scene fits in the pacing of the film I make certain decisions before I get a single note down.
- The music shouldnâ€™t get big, but still give a sense that something has gotten underway for solving the films central problem
- Itâ€™s a gentle, positive scene, and the music should be as well to some degree, while staying hesitant since itâ€™s early in the film.
- At the end of it the main character is still unchanged it appears, so the tone gets darker at the end, or at least more quiet and unresolved.
The writing here has more movement than other scenes I have done so far, a bit of lightness and warmth with some degree of hesitation.
So I have chosen certain modes like Lydian and Dorian, I avoid big chord changes, orchestrated with the palette of the score: strings, harp and piano with the addition of the clarinet in the chalumeau register which I havenâ€™t used up to this point.
Back to work!