Music for a Purpose:

Composing for Videogames, Film and Small Jazz

Ensemble

Jay Sussman

A THESIS SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTERS OF FINE ARTS

GRADUATE PROGRAM IN MUSIC YORK UNIVERSITY TORONTO, ONTARIO

March 2012

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ABSTRACT

In this thesis, I discuss composing music for different purposes while focusing on music soundtracks for videogames and films and compositions for small jazz ensembles.

I also address some of the basic principles of music publishing and copyright which may be useful for composers. Through extensive research and compositional practice, I have determined that there are a number of characteristics within each compositional field discussed, which can greatly influence the processes of writing and producing it. In order to explain how these characteristics interact with the development of compositions and associated projects, I have documented and analysed my own creative procedures, and examined the insight and examples of other related personnel. To better portray my

findings I have assembled and included a portfolio (a DVD) which provides models of

my music, associated scores and other related materials. When composing for various

objectives, musical composition can be a practice which varies from person to person and

from project to project. An investigation may perhaps yield some useful insight for other

composers or at the very least, provide an interesting and entertaining first-hand account

of composing music for several objectives. iii

ACKNOWLEDGMENT

I am grateful to my parents Marsha and Avi Sussman for their influence, encouragement, love and support. I owe my deepest gratitude to Professor David Mott for his crucial guidance, assistance and insight into both composing and writing processes and Professor Sunder Viswanathan for his advice and leadership. To my brother Shawn, whose technical assistance in digital audio production and recording is greatly appreciated. To Jonathan Rosenberg for his knowledge and technical assistance in film production. To Jay Edry and David Hill for their efforts in animation and videogame programming. Thank you to my extended family and friends who supported me. Their opinions and perspectives have provided useful awareness's, many of which have been integrated into this project. I am indebted to my colleagues, Ken McDonald, Demitri

Petsalakis and Karen Ng, Tom Richards, Andrew Pacheco and Conor Brown and Jason

Jones, who performed and rehearsed materials for my portfolio. iv

DEDICATION

This thesis project is dedicated to the entire Sussman Family. Their unconditional support, inspiration and wisdom has been invaluable and has helped me to remain excited and focused, throughout this process. V

TABLE OF CONTENTS

ABSTRACT ii ACKNOWLEDGMENT iii DEDICATION iv TABLE OF CONTENTS v LIST OF FIGURES viii CHAPTER I - INTRODUCTIONS 1 Introduction 1 The Roles of a Composer 1 My Interest 5 The Benefits of Saying Yes: Why do it All? 6 Musical Endeavours 7 Music as Music 8 Music and Media Messages 10 CHAPTER II - VIDEOGAME SOUNDTRACKS 12 Videogames Soundtracks 12 The Evolution of Videogame Music 13 Cinematics and Game Play 16 Composing Based on the Available Information 18 Interactive Media 20 The Building Blocks 21 Loops and Layers 23 Leaving Space: Musical Pauses and Cadences 24 Useful Insight 26 Alternative Uses for Game Music 26 The Current State of the Industry 29 Ninjics 30 Producer Direction 31 Research 31 Learning to Use the Tools 33 Fate's Push 33 Ninjics Game Trailer 35 Writing the Right Music for Game Play 36 Evaluating Temp Music 37 CHAPTER III - ANALYSIS: UNDERWORLD THEME 40 Underworld Theme: Soundtrack 40 Instrumentation and Sound Production 40 Form 43 Building Melodies 44 Final Stages 48 vi

Final Thoughts 49 CHAPTER IV - FILM 51 Film Soundtracks 51 Musical and Personal Versatility 52 CHAPTER V - ANALYSIS: ESCATE 55 Escate: Short Film Animation 55 Templates 55 First Attempt 56 Scoring to Visual Events 57 Form 59 Style and Genre: Selecting the Right Music 60 Knowing Your Software: Digital Composition 63 Producing a Physical Copy 64 Profits Versus Expenses 65 First Attempt: Failure 66 The Second Attempt 67 Composing With Loops and Samples 69 Sound Effects 71 Recording and Constructing Vocal Parts 73 Digital Manipulation 77 Final Stages: The Finishing Touches 79 CHAPTER VI - THE MEDIUM OF JAZZ 80 Medium of Jazz 80 Working with Ensembles 80 CHAPTER VII - ANALYSIS: VIGIL 83 Vigil: For Small Jazz Ensemble 83 Original Concept 83 First Draft Editing 85 Vigil: Editing Continued 88 Vigil: Alternate Environments 90 Vigil: Sound Recording 93 Using Available Resources 94 Vigil: The Score 95 CHAPTER VIII - PIANO TRIO SESSIONS 97 Piano Trio Sessions 97 The Compositions 99 On a Train 99 Rhythmic Principles 104 Other Alterations 106 Solos 106 Your Same Old Eyes 107 Hlavina Nadrezi 109 Personnel 110 Functioning as a Leader 112 Producing the Recording 114 Writing for Jazz 117 CHAPTER IX - ADDITIONAL PORTFOLIO COMPOSITIONS 120 Additional Compositions 120 Firing Line 120 Take Flight 121 CHAPTER X - THE MUSIC BUSINESS: LICENSING, COPYRIGHT AND PUBLISHING 122 The Music Business 122 Licensing 122 Copyright 124 Music Publishing 126 The Difference Between Copyright and Publishing 127 Evaluating Agreements 128 CHAPTER XI CONCLUSIONS 129 Conclusions 129 My Common Processes 130 The Composer 133 CHAPTER XII - MUSIC SCORES 134 Fate's Push 134 Underworld Theme 146 Escate 152 Vigil 172 On a Train 176 Your Same Old Eyes 179 Hlavina Nadrezi 183 Firing Line 184 Take Flight 199 Appendix I - Portfolio Tracks 202 BIBLIOGRAPHY 203 Print Sources 203 Discography 204 Live Concert DVD 207 Educational DVD 207 Filmography 207 Television 209 Videogames 210 viii

LIST OF FIGURES

Figure 1 - Clavinet Motif, Fate's Push 34 Figure 2 - Japanese Koto Motif #1, Underworld Theme 45 Figure 3 - Japanese Koto Motif #3, Underworld Theme 47 Figure 4 - Japanese Koto Motif #4, Underworld Theme 48 Figure 5 - Drum and Bass Line, Escate 61 Figure 6 - Drum and Bass Line, Tim Lefebvre 63 Figure 7 - Hip Hop Bass Line, Escate 68 Figure 8 - Melody Comparison, Vigil 84 Figure 9 - Ending Melody Figure, Vigil 87 Figure 10 - Bass Line Comparison, On a Train 103 1

CHAPTER I - INTRODUCTIONS

Introduction As a composer I tend to approach composition from a multi-stylistic perspective.

My long time passion and practice of writing music for a variety of purposes has allowed me to develop an affinity for this type of musical endeavour. I have continually strived to cross stylistic and genre specific barriers in order to maintain a musical flexibility which has assisted me in creating and performing consequential music for specific contexts. My work can be categorized into two parts: primary music, which is produced for art's sake, and secondary music, which is designed in order to serve commercial and supplementary purposes. Despite this eclecticism, my own musical voice and perspectives have helped to link these seemingly different realms. My goal for every musical situation is to create meaningful and effective music and, when composing for specific purposes, this goal expands to include the production of music which enhances the associated projects, but does not compromise their intentions.

The Roles of a Composer All sounds, both acoustic and electronic, can be considered musical within the proper context. However, random noises may lack the intention and organization which typically characterize musical compositions. It is the role of composer to create and arrange sounds in order to produce structures which can transmit information to receivers.

Music is made for a variety of different purposes. While some composers create solely for art's sake, others have found their calling designing works which serve a variety of 2 other functions. In instances where music is linked with other art forms, composers must comprehend both the functionality of their music and their own roles within each unique situation. "An original music composer (as part of the team) understands the focus,

impact and direction that the project is supposed to have, and tailors the music to

emphasize or de-emphasize specific elements of the production."1 If a composer can

accurately perceive the objectives of a project, he or she can likely create music that

captures the producer's aims. Generally, music is intended to maximize the impact of

content on its audience. In order to accomplish this, a composer would have to use more

than just their inherent potential to function in a variety of seemingly different musical

environments. So long as there is an understanding of how the music integrates into the

medium and of how it is used to convey information, a capable composer will work to

create something that fits into a specific context. However, not every composer has the

knowledge, artistic curiosity and experience to produce music in multiple streams of

composition. Given this, it appears that only a certain type of composer will actively

pursue creating music for different contexts.

In many societies, music is generally understood to be a universal language. In accepting this, it becomes reasonable to hypothesise that most people have a similar innate potential to understand all music in some way, shape, or form. In this respect, a composer can exploit this understanding to communicate a multitude of messages to audiences through musical discourse, regardless of different societal or cultural backgrounds. On a basic level an example of this could be music of a minor tonality. It

1 And Now - The soundtrack Business: The Hows and Whys of the Business for Music Soundtracks in Film, Television and New Media. DVD. GCFC. (Toronto, Canada: GCFC, 2005). 3 tends to induce a similar emotional response among audiences rather than something that sounds tonally ambiguous. If music alone can trigger specific emotions from listeners, then, arguably, combining it with other forms of media such as visual discourse can

potentially yield greater responses.

In order to develop skills which are useful for eclectic composing, some research and practice is generally necessary to better understand the central aspects of each musical stream being pursued. For example, it is doubtful that a composer who lacks basic knowledge regarding the functionality of music in videogames will produce a score that is completely aligned with the associated project's intentions. Furthermore, if he does not know what to consider when constructing a soundtrack for that specific purpose, despite composing innovative music, he may still fail to provide a fitting score. Vital to the creation of the soundtrack is the ability to strike a balance between composing material that is supportive of the context and writing "good" music. In this situation working within project guidelines, requirements, deadlines, and using the available resources are just a few of the many boundaries a composer may have to address. The ability to create a quality music soundtrack lies not only in creativity, but also in

understanding the environment in which you are working.

This type of composer must be aware that various problematic situations can and will likely occur. Furthermore, he must also possess the expertise and foresight to address these concerns in a timely manner. A weak comprehension of how soundtracks tend to function in this context could potentially render interesting pieces of music unusable. Garry Schyman, a successful film and game composer, sums up an important point while discussing his work for the videogame BioShock 2. He elucidates: 4

"Blind luck might be the most important feature of my success. But then, once the opportunity presented itself, I delivered, and perhaps that is the quantifiable part of the equation... What prepared me was years of work writing orchestral music for film and television and a love for composing. To sum it up, I was in the right place at the right time, with the skills to take advantage of the exploding videogame industry. .. .Prepare technically and creatively and then be persistent."2

Luck seems to have been named as a key element in Schyman's compositional success, however, a strong musical proficiency and a familiarity with his industry were at least as important. With this in mind, I strongly believe that a combination of natural creativity, theoretical music training, and the ability to jump into unfamiliar territory underlie the art of composing for various purposes. Furthermore, experimenting with informal or unorthodox methods of creation can help distinguish your work from that of the larger pool of composers.

Taking risks when necessary and exploring the unknowns of the musical world can often produce some of the best music. Michael Zager, a professor of music at Florida

Atlantic University and also a composer and producer of eclectic music, construes that there is great value in using both formal and informal writing techniques. He explains

"not knowing the right way to do things can become the mother of invention." He goes on to suggest that "a delicate balance of the two working methods is often the best situation."3 Zager's point advocates that a combination of "the known" and " the unknown" underlie the creation of innovative music. To rely on just one or the other will

'j Hoover, Tom. Soundtrack Nation: Interviews with Today's Top Professionals in Film, Videogame, and Television Scoring. (Forward by Murray Gold). (Boston, MA: Course Technology, 2011). 8. 3 Zager, Michael. Music Production: A Manual for Producers, Composers, Arrangers and Students. (U.S.A: Scarecrow Press Inc. 2006). viii. 5 likely produce unimaginative results. Doing things the "wrong way" can often contribute to creativity and ingenuity in a musical world where some say "everything has been done." Using formal, conventional or universal methods can help composers organize and relay musical ideas in a quantifiable manner. The means by which this is accomplished can differ from person to person and depend on the individual project.

Ultimately, since many factors can influence how a composer will proceed to create an original score or piece of music, in the end it is the results which matter most.

Mv Interest Over the years, I have maintained an interest in composing and performing for many aspects of music and have, through trial and error, formal and informal education, and practical experience, developed and refined an understanding of how music interacts with other art forms. When writing I use compositional tools and insight, creative ideas and instincts, to produce musical works that, to the best of my ability, are an enhancement to the artistic projects they accompany. It is sometimes difficult to harness my creative expression when working within certain project parameters, however it is often these very challenges or obstacles that I find most fascinating within this occupation. A composer must always find a way to serve the project while working under various limitations or directions. It is mainly for this reason that I find composing music for a purpose akin to tackling a set of problems which I then work to solve musically. 6

The Benefits of Saving Yes: Whv do it All? In this thesis I have created a compositional portfolio designed to showcase music for three different purposes. Although I am confident of my ability to compose for many more purposes than those discussed in this paper, I have limited this thesis project to three areas that I find attractive, in order to maintain a focus.

The portfolio is intended to provide both readers and potential clients with examples of creative works which highlight my ability to function within a variety of different creative situations. Potentially, this may help to increase the probability of my obtaining more work in the music industry. I have chosen to stray from compositional singularity to ensure both diversity within my career path and to reach a larger pool of opportunities. I take pleasure in several musical activities, such as performing and teaching music, and these involvements have helped me to simultaneously make contacts and maintain my presence in many different musical fields. Since there is some overlap and interdisciplinary connection between performing and teaching, many of my skills and contacts have proven to be (and will likely remain) useful in a variety of these environments.

It may be unusual for an entry level composer to emerge in this profession without a specialization. However, the experience obtained from working in a multitude of different environments may eventually help guide me to one honed purpose. What I understand about a career in music thus far is that a growing number of professional composers write for more than one purpose, regardless of their specialization, in order to make a living. In many instances it seems that the modern composer might be employed in several different musical or music related ventures at the same time as a way to ensure a consistent income. Since competition in music can be daunting, composing for one 7 specific musical purpose, such as high school band for example, may not provide enough substance to earn a living. As an entry level composer, it would seem less likely that I would land high profile contracts immediately following the completion of my portfolio.

Given this probability, I have repeatedly worked to develop skills which are more universally applicable. In this way, I might not feel a need to decline opportunities which happen to fall outside my normal scope. Additionally, I have also striven to build a solid reputation in a wide variety of musical arenas. As a performer, in many genres, music education and dance accompanist, I am able to generate several sources of income streams simultaneously while still using my compositional skills.

Musical Endeavours I have always maintained a taste for creative expression. My early years provided regular access to musical recordings, instruments and music lessons which stimulated my interest. I was exposed to many different music genres and as a result pursued diverse styles when I began to play the drums.

Over the years I became more and more involved in singing and in playing multiple instruments. I started to form bands and began to spontaneously improvise music. This became an important procedure for me, one that has helped define my compositional process. Since then, I have maintained the opinion that some of the best and most inventive musical moments occur when playing or composing with no preconceptions. I used to record my improvisations on cassette tapes, subsequently reviewing the materials and cataloguing the ideas which I felt were song worthy. I would then work with these materials to construct and form compositions by extending ideas 8 and combining fragments which seemed to relate. This is a process which I still find useful for generating ideas in a variety of creative situations.

More recently, when hired to create music for documentary movies, I started to investigate the practice of combining digital and acoustic sounds. By using computer software, I learned to manipulate audio samples and acoustic recordings into compositions. This helped propel me into digital music production, an aspect which has since become increasingly a part of my process.

The next decade was spent continually honing and expanding my formal and intuitive musical skills. I completed an undergraduate degree in music performance and played in a variety of different music settings. During this stage I composed music for ensembles, for an audio book, and had original music featured on a videogame. I obtained a position teaching drums at a music school, and, later, obtained an accompanist position for dance. At present my goals and aspirations point in a similar direction - pursuing jobs that relate to working as a composer and performer of music.

Music as Music For me, all music is, in some sense related. Perhaps this is because of an overwhelming abundance and availability of many different styles of music from around the world. Throughout history, composers from numerous genres have been influenced by foreign music principles in various ways. However, in recent times these influences have become increasingly more common. It is now commonplace to fuse and borrow elements from vastly different music traditions. I have integrated this "fusion of borrowed elements" into my own compositional practice, especially within the past few years. Although I still acknowledge that there are many distinctions among different 9 musical forms and contexts, for example the functionality of film music versus music which is integral to Navaho rituals, I have also realized that diverse musical forms and contexts are in many ways vastly connected.

Intention seems to be an important underlying characteristic which helps to provide a context. Original music repertoire is often designed, structured and modified to specifically enhance and support a particular purpose. Both primary and secondary works, regardless of their initial purposes, can at times be interchangeable (for example, a videogame soundtrack can become a full length album and a top 40's hit can become the opening theme of a movie soundtrack), but this interchangeability does not typically address the finer details which ultimately support a project more effectively than compositions that were initially written for alternative objectives. Even though the latter can sometimes be a fitting solution, an original music score arguably serves the purpose with greater accuracy, flexibility and efficiency.

In this paper I refer to several compositional areas which seem to rely heavily on meeting certain compositional standards in order to provide an appropriate and supportive role. Through extensive investigation and compositional practice I intend to explain and provide examples of these fundamentals, to outline my creative process, and to analyse musical works in order to reveal some of the necessities for composing musical accompaniment for specific purposes. As a result, both the features which help create suitable music for specific contexts, as well as the personal and creative characteristics which represent me as "Jay Sussman the composer, performer etc..." (as opposed to "Jay

Sussman the jazz composer"), will be made apparent. 10

Music and Media Messages Media messages are artistic productions which convey sensory information to receivers through a medium. A medium is the device between the creator of the message and his or her audience. It is the vehicle in which information is physically transmitted, such as film, television and radio. A central element which generally requires acute attention when composing for specific purposes is the medium through which the music is to be transmitted.

"A listener's experience of music differs depending on the medium in which it is presented. Listening to the same piece of music is different if it is presented in a concert hall, as a film soundtrack, or on a CD. Composers must therefore consider the medium when they create.. ."4

All artistic media contain messages. The more effectively a message is transmitted, the larger its impact on an audience. As a result there are many different media which convey different types of information in uniquely effective ways. Choosing the appropriate medium with which to broadcast a message can be a crucial factor in how well it is received. Considering this, any way in which a medium can be enhanced will arguably increase its potential for effectively transmitting desired messages. For example, adding music to silent films in the 1920's undoubtedly augmented the quality and clarity of the messages audiences were receiving. It provided additional sensory information and stimulation, which, at times, foreshadowed events or instigated emotional circumstances which audiences were intended to recognize. In the same way, music has been widely adapted for a number of other media in which it has generally

4 Paul Hoffert. Music For New Media, Composing for Videogames, Websites, Presentations and Other Interactive Media. (Boston, MA: Berklee Press, 2007). 3. 11 functioned as an enhancer. Its widespread universality makes it an effective tool for ornamenting many other art forms worldwide. 12

CHAPTER II - VIDEOGAME SOUNDTRACKS

Videogames Soundtracks This section discusses videogame soundtracks and considers a variety of parameters and circumstances associated with composing in this context. In modern times there seem to be two main types of media, interactive and passive. Videogames are generally categorized as interactive since they often require a user to make decisions which trigger events. While both interactive and passive media (passive media starts and stops without receivers instigating events) frequently make use of musical accompaniment, they sometimes require the soundtrack to function in specific ways.

In many situations producers will request that the composer adhere to principled guidelines when designing soundtracks, such as genre and style (orchestral, techno and ethnic), time or space limitations, and other parameters which will affect the project.

Generally, these demands should be followed in order to serve the game proficiently.

The fundamental purpose of the musical soundtrack in this context is to enhance the players' gaming experience.

"Videogame music is catchy and fun, which helps serve its desired purpose to motivate and keep the attention of the player. This is done through interaction, by further involving or pulling the player into the game, physically and emotionally. Physical reactions, such as nerves, sweat, heart rate and emotional as in anger, determination, fear, anxiety."5

The above quote by popular game composer Tommy Tallarico helps clarify the use of music not only in videogames, but also in a majority of other media such as film, or

5 The Evolution of Video Game Music, Npr Music. Music Interviews. April 12, 2008. (accessed: Feb 8,2011). (www.npr.org/templates/story/story.php7storykN89565567). 13 television. However, since this section primarily focuses on game music, the use of music within other forms will be discussed later.

The Evolution of Videogame Music Videogame music is relatively young in comparison to other media formats. It has gone through many dramatic changes within the last 25 years, but, more specifically, the most innovative transformations have occurred within the last 16 years. Most of the major video game systems are produced in Japan, and, as the industry grew more popular, videogame music, though in its infancy, was revolutionized. Japanese composers were the first game music pioneers, and they defined the distinct sounds players came to associate with videogames. Japanese composers were greatly influenced by western orchestral sounds, and their tendency to focus on a single solo instrument, rather than combined textures, is what continues to characterise most game music.

In the 1970's videogame audio was made up solely of sound effects. John Wall, a top game composer (who created soundtracks for Myst I, II and III) admitted, "I never really paid attention to the music, it just sounded like sounds to me. However, the bleeps and blops, they kind of invade your brain."6 By the 1980's videogames began to incorporate music. However, the technology that was used to create music tracks was extremely basic and produced many challenges for the budding field and its composers.

The Nintendo Entertainment System was the first widely popular home video game machine. The original structure could produce one sine wave, one noise, and two pulse-wave voices, with a one voice channel of seven-bit delta-modulated sample

6 The Evolution of Video Game Music. Npr Music. Music Interviews. April 12, 2008. (accessed: Feb 8,2011). (www.npr.org/templates/story/story.php?storyId=89565567). 14 playback.7 Therefore, the soundtrack could only produce four simultaneous sounds.

Early games used three channels for music and one for sound effects. Later, programmers learned to use all four channels for music, dropping one voice out for moments when sound effects were needed. "Super Mario Brothers," released in 1985 for the original Nintendo, was the first video game to feature constant background music written by a professional composer. It established many conventions for game music which survive to the present day. Koji Kondo provided different background music for every area Mario visited8 and began to revolutionize the use of music in the gaming industry.

Limitations forced all composers to be creative. Nobuo Uematsu recalls that "the

NES only had three tracks, and each of their sounds were very unique. I had to focus on the melody itself and think about how each chord would move the audience. I struggled to produce originality in the same three tones, just like any composer from that period."9

It wasn't until 1991 that the 16 bit Super Nintendo lifted some of those constraints. The machine could play eight tracks of music and sound effects all at once. They were all sampled, meaning that game designers could now import their favourite synthesizer patches into the game.10 Composers were now free to write more complex music with multiple tones and eight layers. Moreover, sound effects no longer took away from the resources of the composer.

7 Matthew Belinkie. Video Game Music: Not Just Kids Stuff. Dec 15, 1999. Videogame Music Archive, (assessed Feb 8 11). (www.vgmusic.com/vgpaper.shtml). 8 Ibid. 9 Ibid. 10TUiJ 15

When Uematsu began his work on Final Fantasy VI, he was adept at using distinctly motivic approaches similar to those on John Williams' film soundtracks. Most of the 100-plus tracks for the sixth game were not designed to be used as background music. The score contained 14 original player themes, songs for different locations and different levels throughout the game, and songs for multiple enemies and bosses.

Furthermore, Uematsu also composed short ditties which played when users defeated enemies or passed levels. Although Uematsu's approach imitated that of Williams, there were also significant differences between them. Uematsu revealed in an interview that

"the amount of play time in a feature film is only about two hours, for a major RPG (role playing game) it's about 40 hours and the number of pieces is enormous."11 Throughout the evolution of gaming music the complexity and amount of music required to produce a full game soundtrack grew exponentially. The game music needed to exploit the emotional content, which was at the core of every game, grew dramatically as well.

Background music no longer suited the type of visual discourse in a majority of featured games. The music had to continually help to instigate mood and emotional circumstances while users played.

In 1995, the industry was revolutionized once again with the introduction of the

Sony Playstation. It allowed for 24 sampled voices, making it possible, for the first time, for composers to approximate orchestral scoring. It allocated greater memory for sample storage, thus allowing for more realistic sound samples and even stereo playback.12

Currently, all videogames use one or more of three types of music available. They are:

11 "Nobou Uematsu." Icons, G4 (USA: G4TV, July 8, 2004. TV). 12 Matthew Belinkie. Video Game Music: Not Just Kids Stuff. Dec 15, 1999. Videogame Music Archive, (assessed Feb 8 11). (www.vgmusic.com/vgpaper.shtml). 16

Midi (synthesised instrument sounds), Digital Modulators (acoustically recorded instruments made into samples) and Red Book Audio, which is basically digital audio at

CD quality. The latter two take up significantly more memory than Midi, and, in extreme cases, can actually take away from the graphic quality. However, today's industry formats can store gigantic amounts of information, thus leaving lots of space for soundtracks.

It seems that for videogame composition, the focus should be on creating a strong

memorable melody. Implicit in much of Uematsu's work, as well as among other great

game composers, is firstly the concept of highlighting and supporting one element of the

music, rather than emphasizing how the totality of instruments will sound. Secondly, strong foundational harmonic progression is also underlying. Ideally, these two elements should be able to stand-alone. This is a true test for some game music, since, during

production, various parts of compositions do not make the final cut, thus creating

instances where only one or the other is used.

Cinematics and Game Plav There are two main types of composition which serve videogames. They are

called "cinematics" and "game play." "Cinematics" refers to short movie-like scenes in

which users have no interactive control or functional role. Music in these short animated

narratives generally functions as film music would by accompanying fixed visual events

which are used to move the story line forward by introducing characters, events, and

settings, or by acting as transitional points between game play. The music in this

instance generally supports the visuals by matching the energy of the on-screen events.

For example, if a game cinematic portrays an extreme event such as the first person 17 perspective of a war scene, then the music will likely reflect this by characterizing intensity through more rhythmically dominant and suspenseful harmonic elements, rather than using funky rhythms merged with major harmonic qualities. Although a gifted composer could perhaps unite these two seemingly opposing elements, likely the latter major harmony would not match the on-screen scenario, which would probably be characterized by emotions such as fear, uncertainty and anxiety. When attempting to match the visual material, it is essential to consider the elements of energy, mood and emotional content of the on-screen events is usually as primary targets for a composer to support through music.

"Game play" compositions, which operate more like backgrounds, are the most commonly employed compositions in videogames. "Game play" music generally accompanies instances when the user is interacting with the game, when he or she is making choices and triggering events. Basic "side-scroll" (the game moves side to side, up and down) or "sandbox" style games (the game has a finite environment) which are routinely played on computer systems or cell phones mainly use this type of background soundtrack, and, in general, they do not frequently require that the music function interactively. High budget, role playing games (RPG), or other feature games make use of both cinematic and game play musical accompaniment in abundance and tend to be incredibly interactive.

Throughout game play, user controlled movements can often trigger musical cues which provide insight or enhance visual events. For instance, if a player approaches a hidden object or passageway, a distinguishing musical prompt might indicate that an item or doorway is nearby. In Zelda: Ocarina of Time, the music habitually functions as a 18 primary source of information which discloses the locations of several essential items within the game. Another common example is music which might accompany specific character interactions such as engaging a dangerous enemy or being near death. To better reflect the increasing anxiety and intensity of the game play, music might speed up or slow down. Within these models, the soundtrack behaves as another layer of the game, providing useful insight and real time reaction to the user's choices.

There are a variety of tools and building blocks that composers make use of when creating interactive game music. In the following section some of these elements will be explored and explained in order to disclose their functionality for crafting soundtracks.

Composing Based on the Available Information In the videogame realm composers will generally write music based on the available information provided by game producers. All too often this is a collection of short, rough video clips (which are most likely just examples of how the game might look and work), still graphics, and oral information which can change repeatedly. This procedure generally demands that the game composer designs a large number of the cues for a game that does not yet wholly exist. Details of the game are normally in a state of continuous development, sometimes changing on a daily basis. Game composer Greg

Edmonston, a television and videogame composer, explains that this can be a common situation when working on videogame soundtracks:

"Videogames develop in a uniquely different way, a work in progress, ever- changing. When you start writing the music, the game and the final graphics are really mostly unfinished. They literally change day to day. I will get a QuickTime video to work with and then a few days later, receive an updated version of the 19

same scene, and sometimes the difference is jaw dropping. Everyday, the graphics team will add new detail, colour layers, lighting etc.. ."13

Due to the indefinite nature of some game projects, composers may need to predict elements of game direction or guess how certain attributes might function or sound within the final product. This type of ambiguity can be both problematic and, at the same time, liberating, since it potentially provides the composer with a large degree of creative freedom. Furthermore, the music can also be altered at anytime during the process by the composer or the programmers to better serve the visuals.

Since some videogames develop over long periods of time, composers can sometimes work as members of a larger creative team. The team generally consists of producers, managers, graphic designers, programmers and coders. This working method provides the composer with a mitigated deadline and with the ability to develop a score alongside other creative development. However, there are some instances where the composer remains separate from the team and may not be involved in the production side of the process. In an interview, Edmonston provides insight into these two working

methodologies. Although his composing process for videogame soundtracks generally requires frequent communication with game producers, he reveals that another composer's process does not include regular contact at all. "No one actually tells him

what to do, he just has to make decisions and convince the developers that the music is

13 Hoover, Tom. Soundtrack Nation: Interviews with Today's Top Professionals in Film, Videogame, and Television Scoring. (Forward by Murray Gold). (Boston, MA: Course Technology, 2011). 20. 20 right."14 In this situation, the composer must write exclusively using the available information provided and still create a music soundtrack which is suited to the project. In both scenarios, the desired results are the same. The music must still enhance the gaming experience and never detract from it.

Interactive Media Videogame are a form of interactive media. The user can interact and thereby affect the course of the communication.15 Creating cues for this type of purpose is fundamentally different from a linear experience where "the content starts and continues uninterrupted until it ends."16 What is interesting to note is that most videogames, especially contemporary ones, rely heavily on users to trigger events. Decisions which move the story line of the game forward also demand that the music functions in specific ways. Since a user makes choices at his or her own pace, it is virtually impossible for the composer to score to fixed visual events during game play, or to create a soundtrack which accurately anticipates the user's actions. For this reason, from the beginning stages of production, a composer should consider how cues might make transition or

precede one another when he or she is creating interactive game music.

Imagine a piece of music designed for a specific level in a game which relies on

the player to make one of three possible choices to trigger the next event. Depending on the decision the user makes, one of three alternate game paths will follow. If each path is

14 Hoover, Tom. Soundtrack Nation: Interviews with Today's Top Professionals in Film, Videogame, and Television Scoring. (Forward by Murray Gold). (Boston, MA: Course Technology, 2011). 21. 15 Paul Hoffert. Music For New Media, Composing for Videogames, Websites, Presentations and Other Interactive Media. (Boston, MA: Berklee Press, 2007). 4. 16 Ibid. 5 21 relatively different, then the music intended for one may not fit the other two. The composer must decide whether the game music would be appropriate for the character in each situation or if different music would better underscore the different dramatic scenarios. Each decision will affect how the music cues will need to segue from one to another.17 The art of the composition in this case, lies in designing a music cue which can potentially be linked to three alternate musical selections.

To further dissect our hypothetical situation above, the initial cue (in which the user must select one of three options) would likely need to be repetitive because the user may require an indeterminate amount of time to make a decision. Furthermore, if the user makes a wrong choice, his or her path may be routed back to the initial setting, and thus the same musical cue. If these are the circumstances, the first music will probably be on a loop. To overcome any type of transitional obstacle, composers may write three alternate endings to the initial cue, or three alternate pieces which can immediately follow the preceding music fluently.

The Building Blocks "Verses, chorus, and movements are the musical building blocks for songs and symphonic works. Similarly, sequences and loops are the social building blocks for interactive music."18

Game music habitually makes use of some foundational principles. Repetitious materials such as loops, layering and ostinato patterns (repeated), musical pauses or cadences, as well as catchy main melodies are employed to create this music. In order to

17 Paul Hoffert. Music For New Media, Composing for Videogames, Websites, Presentations and Other Interactive Media. (Boston, MA: Berklee Press, 2007). 15. 18 Ibid. 19. 22 boost and maintain the attention of players for extended periods of time, music will in some instances characterize lively and energetic passages, driving pulses and short thematic bursts. However, the music must not be overbearing in any way that could potentially distract or annoy the gamer. Edmonston reveals "you've got to be careful about writing too much melody, because if the music's going to loop, or the player stays in the same place for a long time, you don't want them to be saying oh no, here comes that damned flute melody again."19 An awareness of the functionality of music within games can make a huge difference in how effectively the music enhances the material.

Nonetheless, sometimes silence or a very thinly lined musical accompaniment can offer equally, if not more effective support for game play. To achieve the best possible results, some composers will construct pieces in a variety of strategic ways which make use of moments of basic accompaniment or silence.

Some composers use relatively short, repetitious materials which can be looped or connected with other music. Other projects may require a composer to build extended structures which have a number of musical pauses or cadences throughout. This method allows the programmers and developers (who place the actual audio in the game) to splice or split up works to fit alternate or multiple aspects of the game. Edmonston explains that sometimes music written for a specific purpose in the game will also work elsewhere: The programmers are responsible for deciding where it works best, and thus, as a composer, you never know for sure how or where it's going to end up in the game.20

19 GamesTM. Behind the Uncharted Soundtrack with Greg Edmonston. Feb 17 2011, Imagine Publishing ltd. Bournemouth: Dorset, (accessed Feb 20,11). 2. (http://www.gamestm.co.uk/interviews/greg-edmonson-uncharted-interview/). 20 Ibid. 1. 23

When composing for videogame soundtracks, providing flexible music which can be easily manipulated often broadens its overall application.

LOOPS and Layers Loops are useful tools because they enable a sequence of music to seamlessly repeat, thus giving the illusion that the structure is an extended work. If the loop is sufficient in length, and has enough variation throughout, it will likely succeed in achieving this deception. However, if the beginning and end point of a loop present drastically different musical elements, the looping point might produce negative consequences. An effective interactive music composer must be adept at managing transitions by using musical elements such as dynamics, tempo, rhythm and harmony, key, texture and styles21 to ensure the continuity of the game music. An important part of the composer's job is to deflect a user's attention away from obvious loop points since these can become irritating and unduly emphasize parts of the narrative where transitions occur.22 To ensure that the music functions in a positive and enhancing way as opposed to being a distraction, a composer might try keeping a cue consistent in order to avoid too drastic a change. Moreover, they might also apply this concept to additional cues which precede or follow, in order to ensure a smooth conversion between them.

One way to achieve this outcome is to use layering. Loops can be silenced and alternatively inputted into a musical cue to invoke change in an otherwise static segment.

For example, an ostinato figure may play while a user is trying to complete a task within the game. When the player completes this task, another loop may trigger which layers on

21 Paul Hoffert. Music For New Media, Composing for Videogames, Websites, Presentations and Other Interactive Media. (Boston, MA: Berklee Press, 2007). 15. 22 Ibid. 35. 24 top, thereby creating some musical development while maintaining a consistency.

Similarly, an entire cue could be composed of many loops which switch on and off

throughout the overall piece. This can be an effective way to compose game music

because the programmers can freely manipulate the musical material to coincide with

game events. Furthermore, the reduction of loops from a dense musical segment may be equally as effective in calming an intense sequence, allowing it a chance to settle, or,

perhaps, to build up again. This is also a technique which helps to prolong the continuation of the same musical material for an otherwise undetermined amount of time.

Leaving Space: Musical Pauses and Cadences Another simple yet very effective tool which allows both the composer and the

programmers to manipulate and re-order cues is making use of musical resting points.

Greg Edmonston explains an approach he used which made it easy for the Sony team to

implement his music into the game Uncharted 2:

"If I was writing an action piece, rather then a three-minute non-stop block of music, I write 40-50 seconds, build to some sort of crescendo or musical stopping place, and pause for a couple seconds -let it breathe. Filling that pause with an ethnic instrument allows it to be heard and gives the player perspective of the game location. This makes it possible to inter-cut between different musical sections rather than just looping. Now you have more choices, allowing the music to breathe, offers new opportunities for combining different sections and cues."23

As Edmonston suggests, musical resting points can create some excellent opportunities for breaking up extended musical cues and implementing smaller portions of those

Hoover, Tom. Soundtrack Nation: Interviews with Today's Top Professionals in Film, Videogame, and Television Scoring. (Forward by Murray Gold). (Boston, MA: Course Technology, 2011). 22. 25 materials in other situations. Because of the interactive nature of videogames, circumstances can sometimes occur wherein players complete tasks which trigger a musical cue before the previous one finishes. This approach can potentially help to remedy any unnatural interruption of musical cues, since resting points can hide odd beat transitions (such as a cue changing on beat 3 instead of beat 1 of the next bar).

Furthermore, if you score short with breaks, you will serendipitously catch events that look exactly like it was scored for that to happen.24

Musical pauses can also help to avoid musical monotony by providing the listener with a break from auditory stimuli. David Mott, a professor of music at York University and also an avid composer and performer, made a correlated observation during a composition lesson. He explained that "when the ear hears the same thing for a long time, it stops listening and you tend to lose the listener."25 This provided some good insight into composing game music because in many instances the same music might play for extended periods of time. Given this, music which plays continuously can be mentally blocked out by players. It is also important to note that in certain instances during game play, this could also be used as a tool which induces a specific desired effect on the user. With careful consideration in employing musical resting points, spaces between melodic statements, and frequent variation, a composer can prevent cues from functioning in counter-productive ways.

24 GamesTM. Behind the Uncharted soundtrack with Greg Edmonston. Feb 17 2011, Imagine Publishing ltd. Bournemouth: Dorset, (accessed Feb 20, 11). 2. (http://www.gamestm.co.uk/interviews/greg-edmonson-uncharted-interview/). 25 David Mott, "Composition lesson." York University. (Toronto: CA: February 1, 2011). 26

Useful Insight When composing for videogames or any other visual media, it is important to consider how the music may support or enhance the materials. For example, how does the music highlight the personality of individual characters, the physical appearance of different settings, or the sometimes unpredictable circumstances which might occur within the game? Tommy Tallarico, president of Tallarico Studios, provides an interesting account of an experiment which was conducted in order to evaluate the effects of music synchronization within a videogame called Space Invaders. He explains:

"If you remember in Space Invaders, as the ship started to come down, the aliens, as they got closer and closer, the sound got faster and faster. Now what the game programmers did, was they took the person's heart rate as the aliens were getting closer and closer, and it showed that people would start to panic. They'd do the same study without the sound, and the people wouldn't panic as much. And it goes to show and prove how significant audio and music are. Like the purpose of all great music, it's supposed to change your heart rate, to move you and make you feel."26

Tallarico's report is an excellent example of how music functions within this medium.

Music helps to push a player's involvement and emotional response to stimuli to the extreme.

Alternative Uses for Game Music From roughly 1987 onward gaming's popularity grew dramatically. One specific game entitled Final Fantasy drew particular attention to the composer Nobou Uematsu and his unique soundtrack. By December 21, 1988, following the release of Final

Fantasy II, both original scores were released as full length albums. This was the first

26 The Evolution of Video Game Music, Npr Music. Music Interviews. April 12,2008. (accessed: Feb 8, 2011). (www.npr.org/templates/story/story.php?storyId=89565567). 27 time that a videogame soundtrack attracted so much attention. In Japan videogame soundtracks make up a large percentage of overall album sales, and, currently, Nobou

Uematsu's music rivals celebrity pop stars like Madonna and Britney Spears.27 In 1994, when Playstation emerged with their new CD game format (which had Red Book Audio), the limitations of previous game music tools became obsolete. Uematsu produced music

for Final Fantasy VII and 9.8 million copies of the game were purchased. The music soundtrack wholesaled 148,000 copies28, and, since the company's inception, the Final

Fantasy franchise has steadily published a number of other Uematsu soundtracks.

In 1999 the integration of vocals and the use of large choirs produced new textures within videogame music. Uematsu again made history by winning the 14th annual Gold Disc award in Japan for his collaboration on the song entitled "Eyes On

Me." It was the first time that a videogame song had won the award.29 Uematsu continued to write the soundtracks for the four subsequent games in the Final Fantasy series and is arguably the most famous and sought after game composer on the planet.

Like some modern day composers, he also writes for other compositional purposes such as for animations and for pop artists.

The appeal of videogame music, with its sometimes lavish orchestration and fusion of music styles, has become an established fact. Videogame music is now a distinct genre. In addition to album sales, countless live concerts of Uematsu's music have taken place across North America and in Japan. This is another application for videogame soundtracks which has become popular. Live concerts settings in which full

27 "Nobou Uematsu." Icons, G4 (USA: G4TV, July 8, 2004. TV). 28 Ibid. 29 Ibid. 28

length albums or medleys are reproduced by orchestras have become an increasingly

profitable outlet for game music. Furthermore, concerts bring significant attention to the

composers who have historically received little attention for their music. In Los Angeles on May 10,2004, in front of a sold out crowd, the L.A Philharmonic performed Final

Fantasy VII scored by Nobuo Uematsu live.30 This was the first concert of this music

held outside of Japan, and it sold out in one day.

Until recently many game composer's names were silent among the often lengthy

list of credits for designing a game. In recent years, largely due to the increasing

popularity of videogame music, composers have been brought to the forefront of the

production. Since music has become such an integral part of the experience for users,

emphasis on the soundtrack has skyrocketed. In 1999, 66% of college students polled

could hum the melody to "Super Mario Brothers" (arguably one the most famous

videogames ever made). This theme is known world wide.. .however, not one person

surveyed could name Koji Kondo as the composer.31 At the beginning of 2011, when

discussing my own thesis work with friends and colleagues, I was astonished by how

many of them, regardless of their occupations or interests were able to name Nobou

Uematsu as the composer for most of the Final Fantasy series. On a separate occasion I

discovered that another colleague who is a dance accompanist actually participated in a

concert which performed the music live. The extensive fan base for videogames now

ranges from young children to middle-aged adults. Similar to the movie industry, games

are increasingly becoming popular internationally; so are many of the composers who are

30 The Evolution of Video Game Music, Npr Music. Music Interviews. April 12, 2008. (accessed: Feb 8, 2011). (www.npr.org/templates/story/story.php?storyId=89565567). 31 Matthew Belinkie. Video Game Music: Not Just Kids Stuff. Dec 15, 1999. Videogame Music Archive, (assessed Feb 8 11). (www.vgmusic.com/vgpaper.shtml). 29 creating their innovative soundtracks. As the industry continues to expand it brings with it the prospect of many new and exciting opportunities for composers.

The Current State of the Industry The huge variety of games from which to choose, designed as they are for different age groups, genres and demographics, combined with a growing number of new

technologies in which to play them, means that videogames are quickly becoming an

industry whose popularity is close to surpassing that of film. Furthermore, RPG videogames seems to be frequently borrowing aspects from film such as cinematic short

movies, intricate plot lines, and extensive character settings. In extreme scenarios it has almost reached a point where, essentially, players are creating their own "movies" with

their own unique stories.

Other more basic games target audiences who wish to solve their favourite

puzzles or other mind game problems. There are many types of games available and some have evolved to serve alternative purposes beyond simple entertainment. Several games aim to educate users in language or math, while others provide a safer training simulation where people can obtain knowledge and experience performing tasks without endangering their lives (e.g. videogames that are used to train pilots). In recent years, featured games have had gross annual incomes akin to some major motion pictures.

Furthermore, the budgets for game music soundtracks are, in some particular cases, larger than those for some movies. This has helped to make the videogame composer among the highest paid of composers in any genre. 30

Niniics This section documents my work creating materials for a basic videogame. It examines a variety of successes, failures and learning experiences which ultimately guided the production of this game soundtrack. Included is an analysis of the main music

"Underworld Theme," the game trailer entitled "Fate's Push," as well as some references to other compositions which did not make the final cut. This game is not a major feature and did not require an interactive soundtrack.

Ninjics, the game I chose to score, is a multi-directional, side-scroll videogame demo (the screen moves left and right, up and down, but is not capable of movements which exceed two dimensions). The main character is a ninja and the goal of the game is to complete a fixed number of levels in the allotted time period. In order to pass each level, the player must collect objects which unlock pathways to other stages. Each level increases in difficulty and is accompanied by a set time limit of five minutes. Although there is a predetermined time limit, the game also depends on the user to make some decisions. For example, there are moments in the game when the player must decide whether to defeat enemies or obtain required objects. If the user fails to get all the objects in situations where there is no means for back-tracking (retracing steps), he or she is given the option to "commit suicide" and resume from a "save spot" (a part in a level where, after losing a life, the user can revive) in order to avoid having to start the level over from the beginning.

Ninjics is generally consistent in terms of its goals (completing tasks) and its progressive flow. Within the game play movements consist of running, jumping, climbing, swinging, slashing and bouncing. There are virtually no instances where the player is required to remain still for any significant period of time. In creating something 31 that corresponded to these characteristics, I felt that the music needed to embody the energetic, "one man versus the world" theme. To do this, I designed music which was rhythmically driving and incorporated sections of frequent tension and release.

Producer Direction In the gaming industry, often the producers will provide the composer with only limited direction. This certainly was the situation I encountered while working on

Ninjics. Initially, I was presented with two 44 second video clips, a few still images, and some vague descriptions. From these materials I began to construct two pieces of music.

At a later date I also met with one of the programmers and had some informal conversation about the game and its features. Eventually I was given a working demo version. This will be addressed later on in this section.

Research Before I started work on Ninjics, I investigated the works of other talented game composers and tried to recall how their music accompanied some of my favourite videogames. I considered many early Nintendo games such as the classic Super Mario

Brothers trilogy, Contra and Tetris, but I also revisited contemporary computer games like Counter Strike and Robot Unicorn. Lastly, I investigated some more modern games, released within the last decade like Zelda: Ocarina of Time for Nintendo 64, Tony Hawk

Pro Skater. I checked out game play videos for Bio-Shock, the 2011 release of Mortal

Combat, Kill Zone 3 and more. All of these games use music, or the absence of music, in various ways. Examining them provided some good perspective for approaching my own project. 32

Robot Unicorn is a basic side scroll game which only moves in one direction. The soundtrack is a single piece of music which loops indefinitely. Despite being a looped sequence, it is very catchy and memorable. What I recalled most about this particular game was how it used several recurring sections which were similar as a way to hide the loop point. Since each segment occurred multiple times before the repeat, I found it difficult to determine exactly where the transition point was. I felt that it was an effective strategy to keep in mind for my own compositional loops. After several attempts at writing a main theme for Ninjics, I eventually came up with music which utilized this strategy.

Robot Unicorn is a computer game which features a single composition soundtrack. In contrast, Zelda: Ocarina of Time is a multi-dimensional RPG which is highly interactive and contains numerous pieces of music and short ditties. It is also designed for a major console. The soundtrack is an integral part of the story line, and, in many instances, controlling it is a necessary task performed by the user during game play.

In order to move the story forward or to perform certain essential functions within the game, the user is required to "learn" pieces of music and play them back using the controller. I feel that this game uses music in a fascinatingly interactive way. From my own personal research and the information provided by the producers, I determined that the music in Ninjics was not going to function in a complex way like Zelda's. I also realized however, that soft or sparse accompaniment, which was used in some of the other games I had examined, would likely fail to maintain the player's interest. 33

Learning to Use the Tools At this point in my musical career I had had only minor experience composing music to visual media clips, and I had even less familiarity dealing with the production side. I mainly produced repertoire intended to fit filmic images and had never personally synchronized my own audio to them. For this project, I was able to use Logic Pro to play back video and still images as a reference while I composed. This process permitted a more precise alignment of the audio with the visual materials and it further presented an opportunity to see and hear my compositions applied directly to video. I performed some trial and error experiments and learned quickly by practicing. Whenever I got stuck or wanted to do something specific, I would consult the manual and proceed accordingly.

By the time I had learned how to perform most of the essential functions concerning video in the program, I had completed my first draft of the trailer.

Fate's Push The first piece that I created for Ninjics was called Fate's Push. Later on, portions of this piece were strategically edited to become the soundtrack accompanying the Ninjics game trailer. I composed this one minute composition based on watching the cinematic videos provided by the producer and by imagining the final product of the game. This piece was made up of two main riffs which outlined an "A" and "B" section.

The "A" section as seen in Figure 1 makes use of a C-minor tonality with a #4 and the addition of this tritone provides a darker, more ominous mood. The "B" section alternates between the M5 and the t>7 chords using only octaves. The form of this piece is

A, A, B, A1 (A1 indicates variation of the previous material) and encompasses modifications to both the rhythm and the instrumentation of the final "A." Shots and fills 34 replace the main drum part before restating the initial groove, and, instrumentally, there are additional parts such as vocals and a megaphone siren. This composition is mainly fuelled by rhythmic principles which connect the two motifs.

The rhythmic base of the song continually splits up 8 beats in a 3, 3, 2 division.

The musical phrase covers 16 beats with an accent on the last up beat. This provides the

piece with a driving rhythmic pulse and a template for syncopation. To counter this main

motif, I use a crescendo applied to a thick bass tone, which reoccurs every other bar

throughout the "A" section. It promotes a push and pull element to the composition

which helps delay tension and release. Furthermore, it provides some variation to a

rhythmically consistent main riff.

Figure 1 - Clavinet Motif, Fate's Push

Clav.

The "B" section further exploits the rhythmic platforms of "A" by shifting the

percussion parts form a rock feel in "A" to a thundering tom-tom and bongo duet in "B."

This section is one large build which thins out and releases into the "A1." The addition of

a drawn out vocal scream, which morphs into a siren helps to provide both extreme

tension and release, as well as variation in the otherwise rhythmic and harmonically consistent piece.

The "A" sections were designed to be looped if necessary and to function as a

main theme, since there is no melody. The absence of a melody can be typical in game

pieces which strive to be used as background music. In structuring the soundtrack, my

aim was that the balance of the two riffs would keep a listener engaged, since the piece 35 has some decorative fluctuation, and despite having no melody, a catchy main motif.

Other vocal and supporting ornamental parts were added later on to strengthen the variation principles and to aid in musical development.

Niniics Game Trailer After I completed Fate's Push I sent it to the producer in order to gain his approval to compose the soundtrack. Once I received the go ahead, I arranged the composition's parts to score the trailer. In doing that, I had to edit and re-mix the audio.

Previously, the form of the composition was A, A, B, A1. To fit the short clip, I had to cut the composition length from just over one minute to approximately 45 seconds.

Furthermore, I had to create a new introduction to better suit the visuals. The introduction of the trailer depicted an outer space setting. To accompany this, I used some background noise, and vocal harmonies, fading in the main motif. In the video a missile collides with a meteorite at around ten seconds and I synched the A section to emerge in full force at this event. Since I added an introduction, I also had to cut out more material from the original arrangement.

To organize the materials so that they would condense into 45 seconds, I cut repeats in the first "A" section and reduced the "B." I used only the second half of the

"B" which contained most of the held vocal scream and lead into the final "A" section.

Lastly, I finished with a shortened version of the final "A." In order to match the ending of the audio and video, I had to extend the video an additional second and did this by freezing the final frame in IMovie (a computer program for Mac which lets you edit and create basic movies). This allowed for the main motif to finish before the video ended.

Prior to this, it cut off in an awkward place which sounded odd and appeared to be a 36 mistake. Once this was completed, I sent it to the game producer and although he spoke

positively about the soundtrack to the trailer, he indicated that the music was not what he

had imagined for the game. Since the composition seemed appropriate for the trailer, I

began to focus on creating alternate music for a game I had never played. At this point, I

was able to squeeze out some additional information from one of the producers, but it

seemed to be mostly conceptual projection and nothing concrete.

Writing the Right Music for Game Plav The second piece I wrote for the game was entitled Take Flight. It used some of

the same rhythmic and harmonic elements of Fate's Push, and it was created midway

through the process of completing the Ninjics trailer. This piece was composed with the

intention of establishing different musical accompaniment for each level. At first, I

attempted to compose music based on the themes of each setting, such as temple and

desert. Take Flight was designed for a fast paced and dynamic movement and fantasy

scenario. I imagined a stage where the player would be consistently moving, jumping,

floating or swinging and thus created a piece which reflected these qualities. However,

when I finally obtained the "long lost" demo copy of the game, it became apparent that

the projections of the producer were inconsistent with the demo version and that the

functionality of the music I was creating would not be suitable. Perhaps if the game were

ever to be finished a more completed version of the game would have matched the

visions of the producer more closely. In this case, I decided to create the soundtrack

exclusively for the demo version.

After playing the game and listening to the soundtrack I began to understand how

the music was intended to function, and, consequently, I changed my approach 37 accordingly. This was the single most important realization which occurred during this project. After going through the demo, I found that every level had similar characteristics. The objectives, settings and game features were pretty much the same.

They were just ornamentations of the preceding levels. Furthermore, the game progressed in a continuous manner unlike other games which break for extended loading screens, cinematic scenes, or puzzles. Recently, I was able to persuade the programmer to replace the existing soundtrack on the demo with my own composition. Showing a working demo would be a greater asset to my portfolio than having just the trailer.

Although the previous compositions where appropriate for videogames, I determined that they were simply not the right fit for this particular game play.

Since Ninjics appears to be set in the modern era, I initially chose to stay away

from traditional Japanese sounding music. Hence, Fate's Push and Take Flight do not

use ethnic sounds. From playing the demo, however, I found that there were many

instances in which traditional and modern elements collided. I determined that the addition of traditional Japanese sounds would likely help satisfy the ninja context, and some of the producer's projections. The primary limitation of this entire process was the ambiguity of the producer's information. The demo version did not accurately show me many of the features the producer had envisioned for the final product.

Evaluating Temp Music The next necessary step for me was to evaluate and analyse the existing soundtrack in detail. "Temp music" (example music assigned to rough drafts) is generally a good model of what the producers of a project are going for, and, potentially, it is one of the most useful pieces of information provided for the composer. 38

"Nobou Uematsu, arguably the most famous videogame composer, was told to emulate Dragon Quest for his soundtrack for Final Fantasy." He was given Koichi Sugiyama's ("the big boss of game music") classical music score as a model. However, he was specifically told not just to emulate the Dragon Quest sound, but to create something different. What Uematsu did was to compose melodies for each "song" first, and then to go back and add classical-style background parts.32

Uematsu was given a fairly concrete direction. The producers of Final Fantasy provided a musical example to emulate and granted him creative freedom to move beyond it. Uematsu was able to construct effective music for his project partly because he was given distinctive direction from the start. There was likely less guesswork involved for Uematsu.

For Ninjics, the temp music had a significant digital quality. It made use of drum samples and various synth instruments, looped indefinitely throughout all aspects of the game. From level to level, main screen and loading screens, the music remained constant. The song appeared to contain only digital sounds. I felt that the soundtrack characteristics were fitting for the context and that it also worked well as a seamless and unbroken flow. Since I was creating music for this specific demo, I decided to adopt this style. There were however, a number of parameters which I did not like about the demo track. These provided me with the knowledge of what I wished to avoid in future game soundtracks. Mainly, I saw that the production quality and musical material were both mediocre and that the melodic substance was incredibly weak. I did, however, like the rhythmic complexity and groove, the use of delay effects, the vocal and sparse reverberation which gave the music a particular mood and intensity. I attempted to

32 Matthew Belinkie. Video Game Music: Not Just Kids Stuff. Dec 15, 1999. Videogame Music Archive, (assessed Feb 8 11). (www.vgmusic.com/vgpaper.shtml). 39 replicate the digital and looping qualities of the track, with some additional rhythmic aspects.

A fundamental element of my new approach included using drum samples and sequences to compose percussion parts. Up to this point, I had generally used live drums or a combination of live and digital percussion to create most of my compositions. I had dabbled with samples and loops before, but never in this context. I decided to go fully digital for this particular project. At first, creating drum parts away from the kit was a

huge challenge. Furthermore, rhythmic and dynamic variations were difficult to achieve

in a timely manner.

The first two new compositions were composed by playing all parts on a midi

keyboard. As a result the drum samples, which were inputted one sound at a time, were

rhythmically and dynamically weak. It took two attempts to realize I needed to try a

different method for creating the percussion parts. The melodic and harmonic content of

the pieces were valuable and at times fitting, but overall I considered both compositions

to be failures. They did, however, provide ideal learning experiences. It was at this point

I decided to experiment with the "Ultra Beat" drum machine in Logic. This entailed

programming a sequencer with samples to construct looping drumbeats. I had had some

experience creating drum loops on a program called Reason years earlier, and I used that

practice to come up with the rhythmic base of the Underworld Theme. 40

CHAPTER III - ANALYSIS: UNDERWORLD THEME

Underworld Theme: Soundtrack To create the Underworld Theme for Ninjics I composed one main rhythmic loop and approximately 20 variations of it. The main loop utilizes a "Bombo" or "Rumba" style feel in 16th notes, which are usually counted evenly as "1, e, +, a, 2, e, +, a." The loop highlights beats 1, the "a" of 1 and beats "+" of 2.33 The second half of the bar hammers out a sort of half time feel and accents beat 4. The variations also contain recurring timbral alterations such as low-subwoofer type bass drums and gritty ethnic percussion sounds. Sample substitutions such as multiple hi-hat, snare drum and tom­ tom sounds, move in and out of the groove, giving dynamic accents to selected beats. I used equalization parameters to alter sample characteristics and to clear up the overall loop by boosting and taking out different sound frequencies. Once the grooves were solidified, I copied the variations to the sequencer and designed a loose order. Following

this, I selected a variety of other instruments and sounds which I felt might suit the rhythmic template. A majority were sampled instruments and loops which I broke up, spliced, and recombined to create melodic and harmonic content.

Instrumentation and Sound Production To emulate an oriental influence I selected instruments like the Japanese koto and

the Chinese zither. Since I was limited by both the quality and quantity of samples within my sound banks, I compensated by selecting alternatives which were not Asian. I

33 The "a" and "+" are part of a musical counting system which indicates smaller subdivisions between principle beats or pulse usually counted 1, e,+, a, 2, e, +, a. 41 selected two didgeridoo loops, both of which contained a main note and fluctuating vocal

manipulation to act as the bass part. The loops produced a distorted quality which

provided the piece with a gritty and forceful harmonic base. I used them with the

intention of mimicking a distortion or overdrive effect, similar to that applied to an electric guitar or bass, in order to thicken, break up and accentuate the clean sound.

Distortion effects are generally associated with textural change, which increases the

intensity of sound. I chose to employ the loop fragment by letting it play for an intended

length, then abruptly cutting it off just before beat 1. I had used a similar musical approach to create the bass part of Fate's Push. This method imitated an effect produced

by a compositional tool called the "wall of sound" (many sounds played simultaneously

to create a texture which may be perceived as thick, solid or intense), and was

accomplished through the sudden entry of the low frequency distortion. It also provided

a lush bottom end to accompanying phrases, while the abrupt cut off of the loop

presented points of musical release, some space for ornamentation of the melody, and

also instigated other musical call and response elements. It further provided a slight

instability throughout the track which assisted in maintaining a perpetual variation of

similar musical material.

I wanted to ensure that this particular composition maintained a high level of

continuity in terms of rhythmic and harmonic progression. Furthermore, I also

intentionally strayed from the previous approach used to compose Fate's Push and Take

Flight, which used minimal melodic content. For Underworld Theme I incorporated four

main melodic statements and, at the same time, I sought to guarantee enough fluctuation

to avoid any monotony which might lose a listener. Since the piece was planned to be a 42 single repeated loop, I needed some ornamentation in the melody and extensive variation in the groove. One advantage of going fully digital was the ease with which consistent variation and manipulation of the musical materials was possible. Had the track been all audio and no midi, I might have had significant difficulty altering parts and varying the drums.

The most grounding instrument in this piece appears to be a deep bass drum on the downbeat of every two bar phrase. It punctuates a rhythmic half time pulse underneath the fluctuating drum loop. This bass drum part was added later on in the development when I found the piece to be lacking both bottom end frequency and support. The bass drum helped to offer rhythmic continuity in a continually varying groove, and, at times, a seemingly unstable sound. Another after-thought was inputting various cymbal crashes and a gong to accentuate certain significant moments. One such occurrence is the first beat of the composition. Initially, it did not begin with a crash cymbal, but this was added afterwards to punctuate the initial entrance.

Throughout this process, I tried to maintain an East Asian influence by using some traditional oriental instrumentation and other world music sounds. On the other hand, I also wanted to incorporate a modern influence. To achieve this, I programmed the drums using contemporary drum kit samples. They had some digital qualities to them, but also emulated realistic tones like the tom-toms. The samples also mimicked a variety of auxiliary percussion sounds like shakers and wood blocks, some of which were useful in mixing traditional and modern sounds. For example, the gong helped produce a distinctive root in an Asian aesthetic and it also rang out significantly more than other 43 crash cymbals. It tended to blend well with the drum loops despite being integrated later

in the process.

Another feature of the production which I felt strongly about accentuating, was

the use of digital effects. The application of both reverb and delay plug-ins helped to create a "wet" mix (referring to the room sound of a recording), which produced a dense and atmospheric property. The first beat of the song is characteristic of this. I also

applied effects to many of the crash cymbal samples, sometimes to entire loop sequences

of the drumbeats and in moderation, to the entire mix. To better harness a dark and

ominous musical setting, I tried to manipulate the track into sounding like it was echoing

in a cave. Many of the levels in the game appear to be set in cave-like underground

facilities and the degree of "wetness" of the overall mix helps to legitimize this acoustic

characteristic when it is synchronized with the visual material. Although the majority of

the process emphasised manipulating melodic, harmonic and rhythmic content, it

appeared that both form, as well as post-production methods, were essential to the

success of the composition.

Form The form of this piece is comprised of four and eight bar phrase structures. The

"A" section is an 8 bar phrase composed of two similar 4 bar melodic variations.

Alternatively, the "B" is 16 bars in duration and is made up of two smaller 8 bar

fragments. The "C" section is 4 bars in length and contains just one melodic statement,

which occurs only once during the entire loop cycle. Although the "D" section is also 4

bars in length, this motif repeats later on before the looping point. The form of this

composition is A, B, C, D, A1, Bl, C. The "A1" and "B1" are modified versions of their preceding statements and were designed to help obscure the location of the loop point.

My intention was to use the variations within the two statements to potentially cause the

listener to lose track of the form, creating the illusion that the piece is actually a single

extended composition. I also aimed to create a consistent fluctuation of all the musical

material throughout the piece, which is also why I ornamented these two recurring

sections and many other parameters of the rhythm substance. Building the melodic

content involved, to some extent, a different process and production procedure than that

used in constructing rhythm and harmony parts.

Building Melodies Building the melodic content for Underworld Theme was a process of selecting

the appropriate loops, extracting exploitable material from them, and arranging that

material into intended melodic statements. Since the loops were fixed audio, it was often

difficult to effectively manipulate just a single melody note. To overcome this obstacle, I

spliced, and cut and pasted fragments of loops together. I trimmed excess materials, and

I filled in missing substance by performing the absent parts on a midi keyboard. For

example, the opening melodic statement of "A," consisted of a combination of two

different Japanese koto loops and a midi fragment played in on a Chinese zither. I

wanted to hear a drag34 sound to better connect the two musical parts and I played in

some grace notes via the midi keyboard prior to the second fragment as seen in Figure 2.

34 A drag is a percussion rudiment which combines one primary accented note with two secondary, unaccented notes called "grace notes." The "grace notes" strike a surface just prior to the primary. 45

Figure 2 - Japanese Koto Motif #1, Underworld Theme

Midi Part Loop Loop

|>A [* « M J. Koto EE /

In other instances where changes to the content were necessary, I used dissonant and

rogue notes within phrases, alternate endings and the addition of note bends. Other

content required extending note durations; this was accomplished by doubling the

original to achieve added sustain. In numerous circumstances I found this procedure

necessary in order to develop and arrange intended melody lines.

There are four primary melody lines in this composition. The opening statement,

which begins onG1! (the fifth of C Phrygian), was designed to capture the listeners'

attention. In fact, the entire entrance of the composition is specifically designed to attract

attention. My objective in doing this is to pull the listener into the videogame realm as

soon as possible. For that same reason, I applied many post-production parameters in

numerous instances throughout the composition. I was able to accentuate, and when

needed, soften the audio, thus giving it dimension, substance and ambience. Raw

samples sometimes carry a harsh quality which can be countered by applying effects like

reverb, altering equalizations and by changing a variety of other parameters in the post-

production stages.

The second main melody motif begins with a dramatic bend followed by a

descending line. While the initial phrase pushes the music forward, elements of rhythm

help to provide the phrase with a lagging sensation. This line tends to use rhythms which

begin and end on beat three. There are no sixteenth note subdivisions and this melody is 46 sparse in comparison to the first motif. A central characteristic of this piece is that it is in a constant state of motion. The composition also seems to be in perpetual fluctuation, pushing and pulling, breathing and bouncing rhythmically, as well as shifting melodically into dissonance and consonance. It never seems to settle for more than four beats and is not always square in terms of phrase lengths. Some motifs occur more than twice within one full loop cycle while others occur only once. The ambiguity of the composition's overall length and flow of melodic material makes it difficult to pinpoint exactly when the repeat occurs. Since I focused heavily on trying to hide the repeat point, I decided to

abandon any consideration of exclusively adhering to even bar lengths.

The third sequence consists of a trio of basic chordal structures which shift

rhythmically every bar. It combines several quick finger picked chords, however, this

phrase is not repeated within the loops cycle as in the last two motifs. It is the only

melodic fragment which does not recur. Instead, it acts as a suspension, building towards

the final motif, while also breaking up the even phrase lengths. The first strum is picked

high to low and starts on the fifth, G $ (see Figure 3). It moves down diatonically to Fb

and then chromatically to E ^. Finally, it lands on the root, C ^. The middle strum starts

on the seventh, Bt> and is picked upwards. It rings out into a high C ^ and G ^. The final

chord is picked low to high starting on Bt, climbing chromatically to C and rests on Dk

All three chords are rhythmically different and shift closer to the end of each bar length

until the last chord strikes beat one. The final chord is also a cluster chord which tends to sound dissonant and re-enforces a movement towards resolution. This chord series also aids in setting up the next melodic fragment. 47

Figure 3 - Japanese Koto Motif #3, Underworld Theme

sr '1 l ^ fob1. - r&s — ^ 1 y v r i ft n r W-

The final melodic motif as seen in Figure 4 is an unbroken stream of sixteenth notes which starts on the Db and alternates up and down a semitone to C $. In a way, the fourth passage resolves since it reaches the tonic, but, at the same time, the alternation seem to produce an unconvincing resolution. The result is a rising intensity, a thickening of the mood, and, prospectively, this helps to keep the listener interested. The result of

the combination of these two melody motifs is a delayed resolution, occurring at the next

melodic phrase which begins on the root.

The passage also occurs twice, consecutively. It functions as a pseudo-resolution

to the proceeding cluster chord and it is also the only point in the melody where straight

sixteenth notes occur in succession. Furthermore, the \>9 is used extensively here, where

previously it was applied in reserve.

Another pivotal element which works to amplify the effect of this moment is

dynamics. A rising and falling volume further enhances the tonal balancing effect of this

line by providing another unstable dimension. Similarly, a touch of vibrato supplies

additional edginess. 48

Figure 4 - Japanese Koto Motif #4, Underworld Theme

Throughout the composing process the above melodic fragments were shifted and pasted until an appropriate overall phrasing was achieved. I designed them with the intention of the lines interacting with one another in a call and response style. Therefore, they have similar features, uses of space, and of course, aesthetics. One unifying feature of the melody, besides instrumentation, is the presence of note bends. I generally used them to begin, end or connect melodic statements.

Final Stages The final stage of this composition was rooted in post-production. Once I verified

Underworld Theme's effectiveness and appropriateness for the visuals, I proceeded to mix the track further. I was able to determine the degree to which I was potentially successful in serving the game play by showing the producer, and also a variety of colleagues who are avid videogame players, examples of the music synched with game play videos. This procedure often helps to reassure that a work actually serves its intended purpose. Additionally, it also provides an opportunity to get some feedback and suggestion from others who have perceptions and experience in areas which differ from my own. 49

More often than not, an outsider's observations draw attention to the elements of a work that a composer has disregarded or failed to address. For this project, although some opinions did not come from professional composers, they came from individuals who play and critique videogames frequently. For an entry level composer like myself

who is just beginning to write videogame soundtracks, this type of feedback is valuable.

It is for this reason that regardless of my own confidence and ability to evaluate my work,

I generally ask for comments from peers.

Final Thoughts Videogames seems to be part of an exploding industry filled with new, exciting

opportunities for music use and for composers. Composition for videogame soundtracks

can often provide work which has high budgets, creative flexibility and malleable

deadlines. Furthermore, it tends to engage a wide range of a composer's creative and

technical abilities.

Arguably, no prior experience is necessary in order to create music soundtracks

for videogames. Nobou Uematsu was a self-taught musician and had no prior experience

composing game soundtracks before he got his start. Despite this, it seems that the more

experience and practice a composer has, the more effectively he or she writes for this

medium. Furthermore, a well-rounded composer will likely be capable of bringing in the

right elements of the videogame into the soundtrack, thus better serving the materials.

During my process, I discovered that although my first few pieces were to my

satisfaction, sounded undeniably like videogame music, and I received positive and

reassuring feedback when I presented them to others, the music was not in alignment with

the actual playable game. It took me several attempts to realize what the game needed and to come up with the right music for the visuals. Perhaps it was the experience of trying to create game music that allowed me to become more adept at the process and to learn how to cater to game play. The totality of my training and musical experiences on this project provided me with the means to manifest my creative ideas and aims into a tangible form.

Most professional composers, regardless of personal experience creating game soundtracks, have a strong theoretical and performance based foundation, which has undoubtedly assisted them in functioning in this environment. I feel that although musical instinct can offer important and invaluable insight, a balance of both creative ingenuity and formal knowledge are equally as important in order to achieve desired results of high quality. 51

CHAPTER IV - FILM

Film Soundtracks This segment will investigate many of the concepts discussed in the previous section, but will examine them within the context of film. Similar to game music, film music can be either interactive or used as background. Depending on the project, some directors de-emphasize the extent to which soundtrack interacts with visual material.

Background music does not tend to demand conscious attention from audiences, nor is it intended to function in an overly interactive way. In most instances background music does not provide film audiences with the degree of foreshadowing, anticipation or delay which helps to progress and enhance the storyline as music which is intended to do so.

Its primary objective is to enhance the emotional content of dialogue or other on-screen events.

Another type of music which can make up entire soundtracks is "stock music"

(music written for no film in particular, but intended for film use nonetheless). This approach to building film scores is common among low budget or independent film.

Stock music also provides composers with an alternative platform to make compositions which are not exclusive to any one original score and are available to the public for licensing. There are a number of publishing companies and online resources, which host vast music libraries. Often, a title, a musical sample, and a description of the work are provided (an example description might be: imagine a rainy day, an elderly women sits at a window watching the puddles gather rain; the mood is tense) to potential purchasers, and, typically, the minimum length available for licensing is 30 seconds. The purchaser can later manipulate any part of the composition they have licensed to better suit their 52 needs. Although music libraries offer a potentially useful alternative to hiring a single composer, there are also many potential disadvantages to using stock music. Most notably, directors, or other media personnel, will typically spend many hours sifting through numerous libraries in order to find both affordable and appropriate music.

In some instances, projects may use a combination of both original score and licensed music to produce a soundtrack. Alternatively, there are instances when films are mated to pre-existing music or created with a popular song in mind. It's interesting to note that entire scripts have been re-written because the director could not obtain the rights to the music for which he or she wrote the film.35

In order to better understand how music functions within film, some professional

insight will be referenced. Additionally, interactivity with film soundtracks will be

discussed and examined through an analysis of a short animated film entitled Escate.

Musical and Personal Versatility Versatility — the ability to function within a variety of musical situations ~ is a

useful compositional attribute and personal trait. In order to write for film, a composer

must potentially do more than just create the music. He or she must ideally create a

musical support system which both enhances visual materials, and, in some ways,

functions as another form of dialogue. Often, interactive music helps to navigate

significant events in the story by foreshadowing actions and by providing additional

atmospheric qualities.

35 And Now - The soundtrack Business: The Hows and Whys of the Business for Music Soundtracks in Film, Television and New Media. DVD. GCFC. (Toronto, Canada: GCFC, 2005). 53

Capturing and enhancing the mood of a film is perhaps the primary objective of the film composer and the associated musical score. For Bruno Coulais, a French film composer, "the cinema is an experimental field where he can adapt his music to the different moods of the movies."36 In Coulais's scenario, he strives to adapt his soundtrack to the emotions he perceives from the filmic images. In agreement, producer

Adrienne Levine claims that "the composer and music enhances whatever mood or feeling you are trying to create, and can even prompt an audience or get them ready for a mood or feeling you are about to generate."37 In both instances, a primary purpose of the music soundtrack is to capture and define mood within a project.

In numerous compositional situations, taking into account the elements required in order to effectively serve the visual material will help promote a supportive soundtrack. Ascertaining whether the music is to take a primary or secondary role within the feature is fundamental to the approach a composer will take to scoring a film.

Understanding the intentions of producers and the role that the music is supposed to fulfil, are essential elements to ponder. Will the music emphasise the actions of characters in the story? Will it accent moments of inner dialogue or introduce new settings? How will the music draw attention or obscure various plot elements or enhance an emotional moment? This degree of sensitivity and approach to film scoring can potentially yield results superior to those produced from simply applying pre-existing music to a film. The knowledge of how the soundtrack is supposed to affect the visual

36 Hoover, Tom. Soundtrack Nation: Interviews with Today's Top Professionals in Film, Videogame, and Television Scoring. (Forward by Murray Gold). (Boston, MA: Course Technology, 2011). 30. And Now - The soundtrack Business: The Hows and Whys of the Business for Music Soundtracks in Film, Television and New Media. DVD. GCFC. (Toronto, Canada: GCFC, 2005). 54 materials, in the hands of a capable composer will most often produce the desired results.

However, there are always exceptions to this notion; and there are instances where background or licensed music may be equally as effective in producing and supporting a film.

In the past I have produced music for Israeli documentaries Disengaging

Democracy (2005) and Pride (2007). Both films made use of compositions which were not done for any specific visual content. Although much of the material was created for those particular films, I composed many of the pieces exclusively based on the general content being presented and on other information supplied by the director. Alternatively,

I also submitted pre-existing compositions which I felt matched these contexts. In both instances, some of my stock composition contained properties which suited the films.

It should be noted that for the professional composer, stock music compositions could be an effective resource for future scores and a source of additional income. Most notably, stock music compositions carry the potential to provide a composer with an opportunity to recycle his or her material. Previously unused or non-exclusive compositions can be licensed later on, or even used for additional projects, or perhaps selected for both usages simultaneously. 55

CHAPTER V - ANALYSIS: ESCATE

Escate: Short Film Animation Escate is a two-minute animated film which follows a young "thug" skateboarder as he rides through the streets in the night. Eventually, the main character collides with authorities and chooses to escape in order to avoid apprehension.

Esacte was one of the first projects I worked on which required me to write music for specific visual events. I intentionally catered the original soundtrack to navigate alongside the on-screen visual occurrences. Prior to my score the film had in place a pre­ existing soundtrack which was comprised up of solo drum kit. The score had also been

fused with the film's sound effects and this created a variety of issues which I tackled and

will discuss later on in the analysis portion.

Because of my limited experience scoring to fixed visual events, I decided to use both the previous score and placement of the sound effects as my templates. Although

my compositional approach deviated extensively from the previous soundtrack, my

musical material generally accompanies and drops out at many similar places. In a few

instances, I also extended the musical boundaries of the soundtrack, sometimes

overlapping events which previously had no musical accompaniment. Furthermore, in other instances, I also created my own sound effects and integrated them into the soundtrack.

Templates To initiate the scoring process, I watched Escate several times. I proceeded to import the video into Logic Pro, and used markers to indicate where the important visual 56 points were within the program sequencer (a sequencer is a visual representation of audio and midi information). I made note of any obvious visual events which occurred and recorded their position within the film by referencing the "time code."•JO In doing so, I was able to outline a rough structure by mapping out the intervals between major visual and audible events. Once completed, I considered a variety of tempos which would coincide with the visual material and maintain, wherever possible, even bar phrases.

First Attempt It took two solid attempts to familiarize myself with the process of scoring to visual cues. My first endeavour encouraged the development of strong problem-solving skills as I encountered a variety of production issues. Additionally, it presented an opportunity to test out unfamiliar digital composition and production methods. At first, I started to produce a rough idea of the music by using only midi instruments. I began by constructing and performing a short C major blues which consisted of a walking bass line, complementary piano part, and added rhythmic horn shots. Once this was completed, I played and recorded a live drum part to try and counter a solely midi sound.

Rather than use drum samples, I felt that live acoustic drums would add a somewhat realistic flavour to the blues. Furthermore, it is easier and more time efficient for me as a percussionist to perform most drum parts in real time, on a drum kit. Unfortunately, just prior to this session, one of the computers I used to record specifically for drum tracking suffered hardware problems and became unusable.

38 Time code indicates the exact time of both the audio and visual material in hours, minutes, seconds and millisecond. 57

I record most of my drum tracks using eight or nine microphones and because of technical failure I was unable to do so for Escate. At this point in the process, I was only intending to make a rough copy and I proceeded to record the drums using one condenser microphone. I treated this restriction as a musical challenge. I often run into situations where I am required to produce music with limited resources such as insufficient access

to equipment or sound materials. Despite these kinds of limitations, a good professional

composer and producer of music will always create music which fits the context and

which sounds of high quality using the available resources. Regardless of any unforeseen

issues, I believe that a professional composer must have the skills to fulfil his duties.

During this portion of the process, I frequently referred to the previous soundtrack

to refine my own music and sound effects placement. The other score was comprised of

a solo drum set which started off with a jazzy feel, moved into a funky hip-hop groove,

and eventually developed into a heavy tom-tom "street beat", a New Orleans style

groove.

At first I took the previous soundtrack into great consideration. This approach

provided a good opportunity to get somewhat familiar with the intentions of the project.

It further outlined instances within the soundtrack where music was primary and

secondary, as well as at which points in the film that sound effects were to be principal.

Following this, I began to adapt and superimpose more of my own creative ideas onto the

work.

Scoring to Visual Events In most film music scenarios, a primary responsibility of the composer is to support specific visual events. In modern times very few feature films call for a music 58 soundtrack which is made up entirely of backgrounds. This type of score is more common for independent or documentary style films, and, for Escate, which features a wordless dialogue, I decided to treat the music as another layer of the film. Since there were no lines for the characters to speak, I felt there was plenty of room for the score to make use of text and voice. One important goal for this project was to create a soundtrack which would compensate for the lack of speech.

To achieve this goal, in addition to featuring voice throughout the soundtrack, I considered how my cues might interact with the sound effects. I also determined to some degree how the music could potentially reach or align with its visual destinations. A basic example would include beginning the initial music cue at the very first visual instant so that not only would future events line up accordingly, but from the very beginning both the audio and visual mediums would emerge as a single unit. Another instance occurs at 0:15 seconds when a street light flickers on and off. This event lasts one second and I intentionally lined the music up tempo-wise so that shots could be arranged to the visual flashes. Three seconds later another major event takes place where the main character is suspended in the air. I deliberately paused the instrumental music to accentuate this moment. I also used this moment as a point of transition to move from one musical feel to another, avoiding an otherwise awkward straight cut. I also saw this as the transitional point between the introduction and the next phase of the story.

Throughout this process there were a number of additional events which I targeted in this regard and they will be discussed later. At this point in the process, in order to better comprehend how to organize the music soundtrack, I looked at the how the animation was structured. 59

Form The form of this film is basically A, B, C - beginning, middle and end. However,

I was also able to break it down further into several smaller parts which were designated by specific visual events. Part "A" consisted of an introduction and one body section.

Part "B" had no music and was dominated mostly by sound effects, and part "C" was a chase scene. The film also included a conclusion and a credit sequence which I considered but deemed secondary at this point in the process. In order to maintain focus of this analysis the three major parts of the film will be investigated first, and discussed in the following sections.

The visuals of part "A" portrayed a confident and carefree atmosphere. The main character is shown skateboarding down the street, moving from side to side with a smile on his face. I chose to reflect this confident "on top of the world" depiction with a bouncy groove until part "B." The music cuts out for this section, at which point the sound effects take over as the primary audio. Part "C" becomes a chase scene, where the main character runs from the police. My initial concept for this scene was to create drum and bass music because it is characteristically up-tempo and high energy. It also typically maintains an ominous and unstable quality which might in someway induce a state in the audience of nervousness or the sense of the adrenalin felt when fleeing. Once this section finishes, some additional sporadic musical material accompanies the concluding sequences. At this time, the credits begin, accompanied by thematic material from the "A" section. 60

Style and Genre: Selecting the Right Music When a composer is contracted to write a soundtrack, the producer will often

convey certain details regarding his or her vision for the music. This may include

elements such as style of music, genre, and emotional direction. Once the function of a soundtrack is determined, selecting the right kind of music and instrumentation becomes vital. If a score is meant to emulate a traditional Japanese style, but the main melody of

the work is played on a tuba instead of a shakuhachi flute, then the score may not be very

convincing or supportive. This is just a basic outlook however, it may be important to

consider that there are many approaches and exceptions to obvious rules, some of which

purposely oppose the mood or message of a work in order to achieve a certain effect. A

good example of such a soundtrack accompanies the movie Psycho. During Psycho's

murder scenes the musical accompaniment imitates children's nursery rhythms and it is

likely this juxtaposition of innocence and horror which drew such attention to its musical

score.

When I composed for Escate, I attempted to imitate the styles of hip-hop, rap,

and, for the chase scene, drum and bass music. During my youth, hip-hop, rap and drum

and bass were exploding popular genres which continue to influence me both culturally

and creatively. Many of my original ensembles and associated musical projects have

expanded to include these styles as major creative elements. These genres contain strong

rhythmic foundations and intricate layering of parts and, when I composed for Escate, I

highlighted these features. As an introduction, the hip-hop music I created for Escate

attempts to invoke a specific mood and offers foresight. It aims at developing a

framework which may not be easily determined by the initial visual setting. At first the

film shows a high rise view of a glowing dark blue city which provides the audience with 61 a gloomy ominous presence. As the picture softly tracks downward, it alludes to a setting centred on "the streets," a place of assumed delinquency and danger. Hip-hop can be associated with this context, of freedom and rebellion, making it a suitable choice to introduce the film in this way. This style of music enhances an atmosphere and association for the visual context which accompanies the first half of the film.

For the drum and bass section, I had to carefully select the right sounds in order to make the music convincing in that style. Since I am fluent in a variety of different performance styles including drum and bass grooves, the drum part was easily produced, however, finding an appropriate bass sound in particular was difficult. I knew what sound I wanted to hear, but in order to produce it effectively, I spent considerable time searching multiple sound banks and synthesizer modules. Once the sound was selected, I worked to imitate the style of the bass lines of Tim Lefebvre, a professional bassist who played in a live drum and bass band called Nerve. I had been influenced by his sense of space and offbeat rhythms in the past, and I used what I recalled of his playing to achieve what I believe to be a perfect match for the section. Figure 5 is an excerpt from the drum and bass section of the Escate soundtrack. The rhythmic principles which utilize a combination of held notes followed by shorter duration notes characterises the line's unstable quality.

Figure 5 - Drum and Bass Line, Escate

. = 170 (Play with no tone or string sound) Bass. m

Bass. 62

The rhythm of the bass consistently bounces back and forth every bar, almost producing a three beat figure which does not tip over the bar line. Instead, it immediately resolves and pulls back before repeating this rhythmic trait. The line uses a form of

"pointillism," a technique that uses frequent successive jumps or leaps rather than stepwise motion to construct lines without losing melodic continuity39, to help regulate this fluctuation while still maintaining some stability. Perhaps it is also the repetition of the rhythmic and melodic content which further stabilizes this section. The line clearly states the tonic and dominant while using the surrounding notes as quick landing and take off points, promoting and permitting the larger melodic leaps. Figure 6 shows an example bass line taken from a live performance on Nerve's documentary Prohibited

Beatz (2002). The film captures their work over the course of two years where they held drum and bass parties, all featuring live musicians. It appears that I was also influenced by elements of Nerve's sound production, (very little noticeable string sound) in addition to some of the rhythm figures. Although I do not use as many slides, the three dotted quarter note rhythms and the push and pull concept are present. The larger intervallic distances can also be a connecting feature, but my take on this style uses notes with shorter durations and more melodic content. I did eventually use a deep slide later on in this section, but its sole purpose was to accompany a zooming out which occurred within the film scene.

39 Boras, Tom. Jazz Composition and Arranging. (Belmont, USA: Schirmer, 2005). 35. 63

Figure 6 - Drum and Bass Line, Tim Lefebvre

Slide Slide

Bass. 'UNJ. J|J

In my creative process I love to get inspired and influenced by hearing other musicians' and composers' work. However, I rarely attempt to copy them directly.

Rather than grasping concepts through exact transcription, or note for note repetition

(even though sometimes that approach has also been necessary or useful), I instead try to absorb the main idea and specific characteristics of what makes up their general approach. I try to harness the broad model instead of exact lines so that I can then come up with my own spin on things. For me, it is this very "all-purpose" approach which appeals, instead of learning just one application or way to use the idea. Mostly, I find that once the sound is in my head, I am able to create effective original material from it, even years later.

Knowing Your Software: Digital Composition Initially a major challenge in completing this project was my having to learn how to use my new audio software competently. Logic Pro was positive in that I was able to import the video, separate the old audio, splice and keep some of the sound effects and then score everything directly in the presence of the visuals. However, I only had a basic knowledge and limited experience using this program and this constricted the execution of a number of creative ideas, significantly slowing my process. During the composing portion, I consistently struggled to learn how to perform certain essential tasks in order to achieve specific desired results. For example, when altering tempos and using the 64 metronome in Logic, I was initially plagued by the midi information changing to follow the new tempo. I had to learn how to automate tempo fluctuations, and this resulted in having to rearrange all of the marker locations I had initially assigned to map out the form of the film. A variety of other program functions offered new challenges which I had to find ways of working around on the fly.

Producing a Physical COPY Knowing how to produce a piece of music in a physical, tangible form is an incredibly useful skill for the modern composer. Having regular access to studio space, some basic recording gear and the knowledge of how to use it, can typically provide additional work opportunities, and, alternatively, new compositional techniques to explore. I have been working in this type of home studio environment for several years and have found it to be both interesting and effective. I have also had the opportunity to record other musicians, to gather sound samples, and to create rough demos for little to no additional cost.

In instances where composers are working with small budget contracts finances may often not allow the composer to hire live musicians without losing significant profit.

In this situation a knowledgeable composer can also produce the product independently,

instead of paying for studio and mixing time. For example, writing a piece of music for a

large orchestra may result in one's not having enough of a budget to employ an orchestra

for the studio performance. In extreme instances the contract may not provide enough substance to hire anyone at all. In many of these instances the composer will instead create the tangible musical product by either performing it himself, by overdubbing

instruments, or by playing them in through midi. Another common practice is to hire a 65 small ensemble to play the basic parts of the piece, record sectionals and then overdub additional parts or combine them with synthesized midi instruments. It is essential that a composer be familiar with the above basic recording procedures, as well as basic accounting procedures. Armed with these skills, he would be able to calculate exactly how much money can be spent on producing the music in order to permit a reasonable profit.

Profits Versus Expenses Various professional composers interviewed in the DVD "And Now - The

Soundtrack Business," seem to agree that evaluating the worth of each job is a good practice.

"Try to keep 40 to 50% of the budget and the other 50% leave for the production. Otherwise don't do it. If the budget is low, you have to do all of it, and keep all of it. How much do I want to make and how good will it sound? If the production is really worthwhile, you'll work harder."40

However, there are also those who believe that if you really have faith in a work, or if it has the potential to get you other jobs, working for little or no profit has its value.

Since I am relatively new to many of these fields which I am currently exploring, this is the situation in which I find myself. In order to gain more experience, to build a portfolio and to improve my composition and production skills, I have taken on a variety of

projects which offer little or no budget but which offer the prospect of yielding future

jobs. This is true of Escate and Ninjics. The producer of these two projects eventually referred me to a small independent company which develops videogames. The company

40 And Now - The soundtrack Business: The Hows and Whys of the Business for Music Soundtracks in Film, Television and New Media. DVD. GCFC. (Toronto, Canada: GCFC, 2005). 66 was looking for a composer to create their next game soundtrack and requested an audition piece as soon as possible. The audition materials needed to be submitted in a timely manner and I was able to produce the work in a short period of time at a substantially high quality. It is partly for this reason that I have established a home studio in which I produce many of my original works for relatively low cost.

First Attempt: Failure With my initial rough copy of the template for Escate, began my first attempt at scoring the short film. I had constructed an introduction which used drums, percussion

(cowbell, bongos, tambourine) and a funk bass line. I had a pretty good rough outline of

the entire film in terms of its structure and I had already scored most of the important

visual events. One such instance at 1:12 seconds featured a falling bottle accompanied by choir voices, which I eventually replaced with a siren. Another instance occurs at 1:36

seconds, where I use a snare drum roll to anticipate a leap of faith. However, I quickly

realized that much of my first attempt did not support the mood or essence of the visual

material, nor did it enhance the message or speak the dialogue which I had originally

intended. Seeing that, I dropped the whole first half of the music score, along with the

jazz blues, which up to that point had accompanied the credits.

Although I had failed the first time around, the process was extremely useful. I

became particularly more knowledgeable about using digital program functions. The

attempt also provided me with a polished template and form, a variety of sound effect

samples with which to work, and a number of major events scored. In an interview

Schyman's advice to other composers is to "criticise your own scores... and realize when 67 you get off track."41 My process allowed me to do just that. It provided me with ample experience to differentiate between music that I thought was good and music which actually fit the visual context.

The Second Attempt In the second attempt, I re-scored the entire introduction and extended some of the musical phrases. I conceived that the whole initial vibe definitely needed to be in the style of hip-hop and funk genre which I later recalled was commonly used as skateboarding music. I proceeded to do a bit of research, watching and listening to various skateboarding videos which used these styles of music as their soundtrack. I came up with a good groove and altered the initial tempo (which once again shifted all of the markers designating events I had mapped out), and then I re-recorded the drum parts.

At this point, due to previously mentioned technological difficulties I proceeded to record with one microphone for the drums. Generally this technique would reduce the overall quality of the drum recording, in turn affecting the production's quality.

However, in this case, the single microphone produced a semi "ghetto" drum sample sound, indicative of many hip-hop tracks, and I was able to exploit this feature to my advantage. Sometimes seemingly "bad quality" tones create interesting and unusual sounds which enhance, rather than take away from, the end product.

I was able to produce a stereo effect on a single drum track by copying and pasting the original to two separate sequencer tracks (in all creating three of the same drum part). I then panned one in the centre, one far left and the other right. I

41 Hoover, Tom. Soundtrack Nation: Interviews with Today's Top Professionals in Film, Videogame, and Television Scoring. (Forward by Murray Gold). (Boston, MA: Course Technology, 2011). 9. 68 painstakingly applied additional snare drum samples and hand claps to every backbeat as a way to further increase clarity and sound quality. I also equalized the drum kit to add lower frequencies which I felt were absent from the initial raw recording. Reverb also played an important role in thickening the drum sound. It was applied to all three tracks, as well as to the samples, blending them into one unified sound. This was a good opportunity to see just how far I could take a single drum track recording and make it sound professional.

I recorded some additional drum and bass beats in order to extend that particular musical section, and to help the audio coincide with some other visual cues. I did this for two reasons: firstly, to provide more musical accompaniment for an already short feature, and, secondly, to cover up points in the film where I lacked the sound effects that had been present in the initial soundtrack. This feature will be discussed later in the analysis.

Once the drums were recorded and edited, I created an ascending bass part seen in

Figure 7, which in my opinion helped to propel the music forward. The part spanned an octave range and utilized mostly a half note and quarter note rhythm. As it progressed, I added sixteenth note rhythmic anticipations which helped to offset "static" motion and promoted a building effect. The line also mimics and responds to elements of the drumbeat.

Figure 7 - Hip Hop Bass Line, Escate Bass. m m -1 1 1 J J J J -|J -H J J j J J J jj | jjjj i - -!- J'-'jJ Drums. ry per' r per* ' r >• pep- p' crr per* r >• 69

I selected a bass sound which was both punchy and yet still had a nice low end feature. Furthermore, since the bass line promoted a forward momentum, I wanted it to be clear and present within the mix. I also doubled the line with an upright bass sound to provide it with more depth and conviction. Acoustic bass sounds are also characteristic of some hip-hop and rap music and I wanted to further imitate that style (K-OS, a well known Canadian hip-hop artist has used acoustic bass for many of his compositions).

Following this, I performed a long tedious search through multiple sound banks in order to find a sufficient synth lead. I chose a sound that was distinct in terms of timbre and pitch as a way to contrast the other instruments. It is characterized by a distinctly digital quality and I wrote in a high register. I created a simple descending line which contrasted to the ascending bass motion. Later on in this section, I dropped out the lead synth and replaced it with a lead guitar sound. I did this to create both variation and distinction between two visual events and to build intensity within the audio.

Some common attributes which make up the musical foundation of many hip-hop tracks are the use of backbeat drum grooves, re-occurring bass lines which loop as show in Figure 7, and some sort of lead line played on a piano guitar or synthesizer.

Additionally, certain tracks incorporate live or sampled DJ scratches and other related sounds. I took this into account when producing my soundtrack and found many of these generalizations to be quite effective in producing a convincing hip-hop influence.

Composing With LOOPS and Samples To construct the lead guitar part I used a collection of five samples I found in a

Logic drum bank. Three samples in particular contained melodic content and comprised 70 the primary musical statement while the other two were muted strums sounds used as rhythmic filler. The outcome of the riff was directly influenced by the limitations of the samples. Despite this, the sounds were realistic and allowed for the creation of a convincing high quality guitar part. I was able to perform all of the synthesized guitar parts on a keyboard, and, later on, further manipulated the midi information where necessary using the "piano roll" function (a digital representation, where the samples are on a keyboard and their length, velocity and a number of other parameters can be manipulated). Furthermore, I avoided having to hire a guitarist to perform the parts, which, prior to this process, had not yet been realized. Creating chunks of the soundtrack digitally was a major benefit. Although using software had limitations, it also provided exciting opportunities to create music in the moment, using sounds which might have been costly to obtain. It was also extremely useful when attempting to align various other digital and acoustic elements together with higher precision.

Eventually, I came up with a solid soundtrack and continued to balance the mix by altering track volumes. Following this, I proceeded to select, cut up and reorganize various vinyl loops and samples to create rhythmic DJ scratching figures. In order to construct my own creative figures, I cut up larger loop samples into a variety of smaller fragments. I re-organized them into sequences depending on their sound, pitch and rhythm, and, following this, I placed the newly formed chunks into specific phrases. The process involved trimming off excess content and combining fragments taken from different loops and shifting their placement within the sequence or phrase according to my ear. This was a time consuming process which required meticulous copying and pasting, nudging of materials, and playback review. Along the way, I made other 71 alterations to the soundtrack by levelling volumes, adding equalization patches and reverb, and by changing a variety of other parameters when needed. Once I completed the assembly and placement of DJ scratches and record skips, I copied the entire first sequence (the introduction), and pasted it to accompany the credit sequence. I used a vocal sample with a delay effect (which occurs earlier on), to end the film as the screen fades to black.

At this point in the process, I had created a good useable draft of the soundtrack.

However, it took many more sessions to mix the audio, midi and sound effects tracks to my satisfaction. Throughout the recording and reviewing process, I continually automated parameters to balance volumes, to enhance tones and to create a stereo space.

I panned certain instruments to the right or left while leaving the others, such as the bass, more central. This helped to create clarity within the overall mix and also generated a thicker texture. I also applied some of these same parameters to the sound effects tracks, which, throughout the entire procedure, I had been constantly re-constructing.

Sound Effects Creating and implementing the sound effects for this animation became a major challenge once I set it into motion. I intentionally limited my approach by using as many of the original sounds as possible as a way to educate myself in both sound effects manipulation and incorporation. In order to re-create some of the effects and events present in the original audio version of the film, I cut up and joined together salvaged materials. If I couldn't obtain a full sound effect I generally chopped up, copied and combined smaller fragments to produce loops which might suffice. As a result, many of the sound effects which I created are really clusters of tiny audio fragments strung together. A good example is any instance where the skateboarder is rolling along the street. To construct this effect, I took several short selections of a sample, looped them and fused them with the sound of the skateboard taking off and hitting the ground. Then, through a copy and paste procedure, I varied the length to accommodate placements within the visuals. Although this whole process took extensive effort and was incredibly time consuming, it was an exceptional and exciting learning experience. As I continued,

I became more adept at both designing and implementing my sounds.

Since the music and effects of the original audio had been fused, I could not use any sounds which were played simultaneously with the old score. This was definitely the most problematic part of the entire project because I did not have suitable or appropriate music banks from which to replace the old sounds. Furthermore, I only had minimal prior experience working with effects and placing them to visuals. There were a few places in which the music and effects of the original score did not overlap and I was able to salvage select sounds. From there, I began constructing my own sounds to accompany the predetermined areas and eventually came up with a full sound effects part.

In one instance I created my own police siren by recording a megaphone which had a siren option. I captured an approximately twenty second loop which fluctuated tonally, rising and falling. I added some reverb to sooth its harsh quality and altered its overall volume to mix it in with the other audio. At one particular point I cut and pasted a portion of the siren to accompany a falling bottle in the visuals. The raw sample did not produce a descending pitch bend long enough to accompany the full duration of this visual event, and, in order to overcome this, I had to further manipulate my own loop. To achieve my goal, I created an additional fragment which started just as the siren 73 descended in pitch. It took several attempts to match both pieces of audio, in pitch, volume and timing, in order to make the descent both audibly and visually united. I was consistently plagued by the fusion of sirens bleeping at the transition point and because of this, it sounded unnatural. Eventually I was able to remedy this by hiding the edit point just as the music track ended.

In other cases the replacement sounds were taken from different parts throughout and used to accompany alternate visual events. For example, during the chase scene both the boarder and the pursuing police car slide around a corner. To accompany this, I used sound effects which were taken from other related visual events earlier in the animation because I was unable to salvage the originals. As a result, the effects were shorter in duration and may not have provided the desired sound variety. However, in every case, I was able to create an appropriate substitute.

Recording and Constructing Vocal Parts Subsequent sessions were spent recording, editing and constructing vocal parts to accompany the hip-hop instrumental. At first I attempted to write lyrics and melody which pertained to the underlying themes. I wanted the vocal part to be convincing in style and decided to ask band mate Jason Jones (who is a poet and emcee with strong roots in hip-hop) to write some materials. I showed him the incomplete soundtrack with the visuals and sent updated versions as I made progress. I loosely explained what I was going for and let him come up with his own part. At the time, I had only a vague idea of what I wanted him to do and thus determined that the best course of action would be to record what he created and then, if necessary, take his material and re-organize it as I deemed fit. Usually, I would have avoided such a process as I generally like to have all 74 the materials, or at least, a solidified idea of the desired result in place before calling in another artist to participate. In the past I have found that sessions which lack clear intentions can become stressful and unproductive.

A few weeks later Jason came to my studio and recorded his vocals. This was a relatively short session which I engineered, and, once he performed his parts, I asked him to record some additional ideas I had wanted to include. I also suggested a few rhythmic changes within his raps and got him to record those as well. The session, which was sandwiched in between two other rehearsals, was open and experimental. The following day I proceeded to go through takes, selected usable materials and began constructing new vocal parts.

There were a variety of good ideas which I took from Jason's original pool of takes. He had started his verse at the very beginning of the work and continued uninterrupted until the end of the first musical sequence. I chose to cut, reposition and space out his lines in an attempt to use only the most powerful material. This was also done so that the vocals could trade off with the DJ scratching, which was an idea I had been piecing together in the weeks leading up to this session.

I initiated the construction of the vocal parts by meticulously reviewing all of the takes and making notes of any specific lyrics, emphasis on words, or other characteristics or materials which I perceived as useable. As I edited, I started to realize the direction and goal I had in mind. The process of building the master vocal parts was heavily dependent on consistently reviewing and re-organizing their position. Depending on where the vocals needed to go, I had to apply the same re-organization and editing 75 techniques to the DJ loops which were already in place. By doing so, I was ultimately able to achieve a smooth trade off between the two.

When listening back, I could instantly tell what worked and what needed to be changed. Depending on how I manipulated the voice, the DJ scratches had to be moved, cut out, or elements of their rhythm and pitch content altered. Some of the verse material suggested certain inherent responses and because of my rhythmic intuition, I was able to come up with a suitable answer. For example, in order to introduce the instrumental material I needed to leave space at the very beginning of the score. To achieve this, I left the first bar totally instrumental to establish the musical base and then I added in accompanying DJ sounds. I continued by placing sparse, offbeat vocalise as a way to introduce the voice. This introductory interplay persists until, visually, the boarder jumps. When he lands the music re-enters with the new guitar layer and the vocal verse material begins.

I picked lyrics which pertained to my interpretation of the main themes of freedom and rebellion as well as what I considered to be the character's inner dialogue. I did this to enhance my attempt to establish a musical discourse. Since the animation seemed at various points to depend on the musical cues and vice versa, I tried to accentuate this duality.

I chose the lyrics "freedom's on my mind when these wheels hit the ground" as an opening statement because firstly, it describes the motion of the visual material as it occurs, and, secondly, it encompasses a sensation which I have personally experienced while skateboarding. A cliche expression of this might be "when I'm flying, I feel free."

I wanted the audience to identify with the skateboarder as early as possible and felt I 76 could do so by specifically using voice, which conceivably is the musical instrument that people tend to utilize and identify with most.

I continued to select a few other passages which I felt suited the themes. "Doing what I want" and "I'm a rebel with a cause of sticking it to the man" were both good

representations of youthful rebellion. Though their placement in the video was strategic,

all of the vocal lines were also designed and arranged because of certain self-imposed

restrictions. In my research I have discovered that many professional composers in every

area of composition have, at some point in their careers, had to produce marvellous work

under limitations. For this reason, I decided to continue to work exclusively with the

materials I had instead of trying to record additional parts.

Since Jason naturally emphasised certain words and because the lyrics were

clustered together in a seamless stream, many of syllables were pronounced in short

durations. When I cut up lines from the middle of a sentence, certain words were situated closely to one another. This sometimes produced an unnatural lyrical flow when altered.

In addition, subtleties such as breaths, or lack of breaths, prevented some materials from

being used altogether. How I implemented the vocal material largely depended upon

their original execution. For example, at 0:29 seconds, when the boarder jumps and

grinds across a curb, I emphasis the word "jump" by raising the track volume and adding an echo effect. This enables the word to repeat two times and increases its duration.

"Jump" was clipped from the end of a statement and that sentence was cut from an even

larger vocal phrase. Due to the lyric's close proximity, the little one word sample wasn't emphasised. Jason also performed his parts at a lower pitch which did not induce the

energy or level of excitement which I wanted the music to have. To create some of the 77 desired qualities absent in the original vocal parts, I turned to more advanced digital editing.

Digital Manipulation Logic Pro provides an abundance of different tools for manipulating audio and midi information. While some focus mainly on parameters such as volume, frequency and rhythm, other more advanced tools carry out more extreme modifications. In Escate, in order to provide the vocal lines with greater dimension and added intensity, I used a plug-in called "Vocal Transformer." The plug-in supports the alteration of pitch content and is also capable of causing a doubling effect. With this plug-in, I was able to produce a melodic contour and lower doubling effect to an almost static one pitch rap. I steadily automated a rising pitch line for each lyrical phrase until I hit a selected peak. From there, I proceeded to arc the melodic, curving it to initiate a descent in pitch. This occurs directly after the phrase "doing what I want." The emphasized phrase is also visually synchronized to the boarder landing a skateboarding trick. His facial expression seems to suggest an air of delight at his accomplishment.

Soon after, to help foreshadow the skateboarder's "joy ride" coming to an end, I began to trail off the music by steadily lowering the pitch of the final vocal phrase in a semi-stepwise motion. At the same time, I abruptly cut off the instrumentals, concluding with the phrase "as the beat drops." When the phrase finishes, only the sound effects tracks play. During this portion of the film the absence of music creates a distinctive change, indicating an apparent point of development within the film.

Another alteration to the voice which improved the production was adding equalization plug-ins to all of the vocal parts. This manipulation produced a sound which 78 emulated a telephone voice effect by subtracting most of the bass and treble frequencies from the original audio and boosting the mid range. This modification produced a gritty, almost sample-like quality, which seemed to be characteristic of other elements within the soundtrack. Following this, I was confident enough to show the film draft to others in order to get some feedback.

I screened the rough draft for a few friends and colleagues, and for the most part everyone agreed that the soundtrack was a good fit for the film. Some of them even provided feedback which proved useful in fine tuning the production later on. Most remarks were aimed at mixing issues, mainly between the sound effects and the music tracks. One friend pointed out the he couldn't hear the lyrics clearly because the volume of the voice was low in the overall mix. Another colleague pointed out that the effects were too quiet in one particular instance and that, in another, they seemed to be absent altogether. This was an interesting comment because I had only considered placing sound effects where they existed in the previous version. The event which he pointed out did not initially have any effects accompanying it, and, because of this, I had never considered it to be unusual or missing. A number of other suggestions from peers, as well as my own further assessments, helped to improve and strengthen the film's soundtrack in a variety of ways. Mainly, I was able to clean up the mix, enhance specific musical moments and further increase the quality of the production by fine tuning audio and midi sounds. I strongly believe that a composer can only take his or her composition so far, and that many times suggestions which tend to enhance the composition actually come from peers. Being able to accept both the criticisms and the accolades of others equally is an important and humbling characteristic which I have found to be incredibly 79 useful in composition. Most of the time supporters are not tying to downgrade your work, but rather they point out parts of the work which are weak or could be improved.

Final Stages: The Finishing Touches Throughout the process of scoring Escate, I employed a variety of compositional and production methods to achieve my goals. I used imitation, templates and recording techniques, a combination of both acoustic and midi instruments, digital manipulation of sounds, and, in some instances, I deliberately challenged myself to expand my capacities for audio production. I never considered nor attempted to take on the role of sound effect designer until this project required it and this experience has since proved useful. The practice of scoring to visual events also provided an interesting learning experience since a certain level of experimentation and pre-compositional planning was necessary. This work also exercised and improved my ability to manipulate and combine audio and visual discourse using various features in Logic Pro. 80

CHAPTER VI - THE MEDIUM OF JAZZ

Medium of Jazz This section of the thesis will cover some topics which may be useful for a

composer within the jazz idiom. It will address the importance of lead sheets, some

theoretical and harmonic principles, as well as particular improvisational elements.

Additionally, it will focus on specific compositions which are rehearsed and performed in

different ensemble settings.

This segment will also investigate the connection between written scores and their

associated audio recordings. To the contrary, the absence of written materials will also

be explored.

A significant amount of dialogue tends to take place during rehearsals which can

provide interesting insight into the composing and performing process, and it will also be

discussed in depth. Another brief mention will compare the traditional and modern jazz

methodologies which have helped to shape jazz over time. In order to help determine

where my compositions fit within the jazz idiom, some of the above principles will be

considered.

Working with Ensembles A major focus of this investigation discusses how composing music for specific

ensembles, or sets of performers, affects the outcome of compositions. Working within

an original music ensemble provides access to outside knowledge and perspective which

can be a useful resource for composers. Band mates' suggestions can often provide embellishment or additional materials which make a composition the best it can be. 81

"Sometimes, that extra 15% that someone else gives you is crucial."42 In this respect, the ongoing dialogue I maintain with my band mates during rehearsals allows me to continue learning about composing and arranging, and it regularly develops aspects of my compositions. Since all the members of my original jazz bands compose music and are masters of their instruments, their perspectives and musical knowledge generally offer significant insight and influence on the writing techniques and methodologies that I employ.

During rehearsals with live ensembles I am generally able to test out and experiment with new ideas or musical material which I believe could become strong compositions. Furthermore, reviewing musical ideas solely within the mind, playing them solo, or via a computer software playback, more often than not produces a very different result then experiencing them live with other musicians. It is sometimes tricky to get a reliable idea of how a composition will sound until you have heard it played by a live ensemble. In a live setting a composer can obtain insight into which elements of a composition seem to work and which do not. For me, having the opportunity to operate with proficient musical confidants who both play and write music, on and for their instruments, has proven to be extremely beneficial for my creative process and my education.

Another variable of group work which tends to effect compositional outcomes is whether or not the music has been composed for a specific ensemble. Playing the same compositions with different bands tends to produce fairly different results and can be an effective technique for discovering new ways to play or approach a piece of music.

42 Michael Coghlan. "Seminar in Composition I." York University. (Toronto, CA: March, 2010). 82

Although this method can be extremely useful in a number of different compositional situations, I have found it to be especially constructive within jazz composing.

In the following section an analysis which emphasises elements of form, arrangement, solo sections and vamps, as well as introductions and endings, will be examined in relationship to ensemble playing and its associated compositional consequences. The recording process, improvisation, as well as the production quality of a piece will all be touched upon as important components. The following chapters will analyse jazz compositions from my portfolio and discuss the creative processes which shaped them. 83

CHAPTER VII - ANALYSIS: VIGIL

Vigil: For Small Jazz Ensemble This composition was designed for a small jazz quartet called "Half Beat

Mishap." The members of this band are Karen Ng (saxophones), Demitri Petsalakis

(guitar), Ken McDonald (bass), and myself on drums. The material was originally conceived as a piano improvisation where I attempted to write a piece that would primarily harness its harmonic and melodic development from ascending principles rather

then descending ones. During a moment of creative inspiration I began improvising a

rising melody and left hand fifth chord accompaniment. At the time, I had been actively exploring elements of rhythm within melody and this principle is quite apparent within the melody of Vigil.

Original Concept The initial conception resulted in an ascending chord progression of fifths starting

on D t|, and rising diatonically until reaching Bk Then, it moved up to C (the 7th) before

the progression jumped back down to Gb (the fourth). From there, the melody moved up

to A % where it eventually started another descent to Bk Despite this downward motion,

the progression always ends in an upward shift. Typically, it will rise a tone or two in

resolution from its lowest point. The phrase in this case landed back on D ^ from the Bb,

using the C and G as a passing fifth chord.

The first melody note started on the fifth and was emphasised rhythmically to

create a contrast with the one bar chord harmony. The melody, while moving in an 84 ascending direction, typically lagged behind the harmonic progression, shifting back and forth chromatically, trying to "catch-up" to the harmony. It's important to understand that I created this melody and chord progression by ear and through reoccurring improvisation, rather than through strategic analysis as explained above. I continually re­ worked the melody, rhythm and the basic chord progression until I came up with what I had been trying to formulate. This was done through a trial and error type of repetitious playing over approximately 40 minutes. At times I would integrate into the newly formulated materials ideas or melody notes which came to mind while I was re-working and improvising. For example, the original rhythmic motif in the first two bars was initially conceived as a dotted quarter, quarter, eighth note, quarter, quarter, quarter rhythm (see Figure 8). Eventually, through improvisational repetition, it developed into quarter, quarter, two eighth notes and an eighth rest, followed by quarter, quarter and an eighth note.

Figure 8 - Melody Comparison, Vigil

Bm7 C#m7 Dmaj7 Amaf/E Alto Sax. 1^1I I I 1 3EE nn > j ji«J Bm7 C#m7 Dmaj7 Amaf/E

Initial line. %

During this stage, the lagging idea began to take prominence in the melody. It utilized a great deal of syncopation to supply a rigidity and instability against the stable one chord per bar harmony. 85

During this process of repetition I found myself naturally moving the entire sequence up a tone to start on E $. From there I continued the diatonic harmonic pattern and maintained the rhythmic principles of the melody to construct a "B section."

However, in this division the harmony stopped at C $, but in the same manner as the previous segment, before following the same descent pattern to Bk Eventually, after numerous repetitions of the "A" and "B" sections, I attempted to improvise a new component. I chose to move to an interlude that would halt some of the motion generated by the preceding parts and allow for a good transition into some type of solo. Thus far the song had a lot of momentum and I wanted to contrast this by providing a tonal resting point.

Around this time in my compositional exploration, I was also playing around with

modes and decided to use B- Phrygian since the final melody note landed on a B S. I

further added as a sort of solo section idea: repeats on G- Dorian, Ebmaj7 and Dbmaj

Lydian looped. I conceptualized that the soloist could cue the next harmonic base to solo

over. Eventually, they could signal the end of the solos by cueing a final

C-7 chord which would transition back to the top of the melody. In its first draft, this was

the rough sketch of Vigil.

First Draft Editing Prior to bringing the tune to "Half Beat Mishap," I decided to write in a collection

of sixth and seventh chords with major and minor qualities and some with extensions. In

an ensemble setting the harmonic information allows the players to make appropriate

decisions on how to best accompany the melody, how best to solo and how best to serve 86 the mood of the piece. When I initially brought in Vigil, I had Demitri review all of the chords and suggest any alterations. Since he is adept at "comping" (a jazz expression for complementing the melody using the harmonic and rhythmic progressions) he was able to smooth out the harmonic flow, which improved the fluidity of the chord progression. We played through the melody and established, in a few instances, the use of slash chords such as the Cmaj7/G in the eighth bar. Previously, the harmonic progression was mainly one chord per bar. However, Demitri's suggestions added a second chord in both bar 17 and 19 which helped to break up the monotony of the harmony.

During that same rehearsal, after running through the piece (for which I had already pre-conceived a sort of loose-washy brushes drum part), it was clear that the interlude was a good idea but that the solo section was nonsensical. I defaulted to the traditional jazz solo concept which uses the chord progression of the melody as its base for solos and Demitri suggested trying to play them "double time" (playing the harmony twice as fast as in the melody) in a 6/8 feel to help distinguish it as a separate section.

Once through, the soloist would return to the interlude and "pass it off' to the next soloist before returning to the melody.

Although this worked, going to the B- Phrygian no longer seemed to suffice in setting up the "double time" chord progression tonally. Using Phrygian offered a great foreboding mood and in order to maintain this ideal, A Phrygian became a substitute for

B-. A k re-occurs prominently as a pivot tone (a note that the melody moves around and repeats against different chord changes) within the melody and it frequently appears within the harmony as well. The continuity provided by the A Phrygian interlude seemed 87 to fit uniformly when put into practice and therefore remained as part of the composition.

Because of this change, the B $ which ended the melody had to be changed to a Bb.

Following this rehearsal I altered the chart and made any necessary changes which had been implemented during the session. I brought in the revised lead sheet for

Vigil the following week and we continued to work on arranging it. Through standard

run-throughs and mutual improvisation the interlude section eventually became an

unmeasured build which released into double time solo changes (based on those

accompanying the melody). The rhythmic figure at the end of the melody as seen in

Figure 9, hints at the new 6/8 groove since the tempo modulates based on the 8th note of

the four-tuplet.

Figure 9 - Ending Melody Figure, Vigil

G#maj7#n F# Phrygian

4

After this rehearsal I proceeded to make some additional changes to the chart in

terms of depicting the arrangement of the piece. I decided that following the solos a good

way to get back to the initial 3/4 groove which sets up the melody would be to have an

open drum solo. This "free" section would provide a template in which to ultimately

move the pulse back to the right tempo. At this point, I also added a coda (alternate

ending) using the new Bl> melody note to end the song over a Dmaj7 chord.

Around the same time I changed the names of all the altered chords to represent

exact harmonic qualities. For example, bar 13, which originally appeared in the score as an A-altered chord, was subsequently changed to A7#13. This was done to provide a specific accompanying sound to the melody instead of the freedom to select options which may not have supported the mood as proficiently. Furthermore, while going over the chart in detail, I discovered that important accidentals, mainly a number of B ^'s, were

missing in the melody.

Vigil: Editing Continued At the next rehearsal the band was able to play through the tune with minimal

resistance. During a run-through Karen made an important melody suggestion, that of

changing the F $ in bar 11 (over the Cmaj7), to a Gfc, which everyone agreed sounded

powerful and, moreover, enhanced the contour of the melody. I found it interesting to see

how a single note made such an impact. During the next few rehearsals the band made

other small alterations that benefited the piece, and, at this point, we proceeded to refine

our own individual parts. Instead of using the ending I had provided I explained to the

band that I was looking to hear more of an unsettling quality that would leave the listener

hanging. After we attempted a number of alternate endings with several different chords

over the Bt> melody note, I told them that I liked the Ebmaj7 best and designated it as the

new coda.

Throughout the next few rehearsals and a couple of live performances, Vigil

continued to take shape. Any new alterations were generally small details, but more

often than not they continued to provide enhancements which were extremely effective.

One instance was re-using the space provided by the extra two bars of A Phrygian after

the final melody note. Ken suggested implementing the old coda, a Dmaj7 chord, to 89 create an extension of two bars at the end of each solo section. This addition helped bring the looping solo section to a final rest. Furthermore, it instigated a smooth point of transition back into the interlude. This change supplied a great opportunity in which to pass off solos to the next player instead of one soloist picking up exactly where the other one left off. This is also sometimes a characteristic of traditional jazz standards, where soloists loop a section and take turns playing over the changes. In Vigil, I initially attempted to avoid traditional solo forms, and, in the end I was able to accomplish this somewhat. Since the interlude was harmonically static, Demitri and Karen as soloists could linger within the section until the next soloist decided to play or the rhythm section started to provide some substance. This element would always be left up to the moment.

I re-wrote the chart again, keeping in mind any new alterations I had figured out or which my band mates had provided to me with through their suggestions. During each run-through I found that the double time solo section was still somewhat weak. While addressing this issue during my own solo sessions, I decided to construct an "A1" section which used the chords from the first melody "A" section but still added the two Dmaj7 bars at the end of solos. I focused primarily on discovering a suitable solo section since both solos and improvisation are landmark attributes of the jazz tradition. To me, this part of Vigil was in many ways equally as important as the melody. Thus, I further added in the idea of the second solo modulating to a fast four pulse, riding and playing off of the rhythmic shots (as it did when the solos used a 6/8 groove) used at the end of the melody, which were now rhythm shots juxtaposed onto the "A1" section. This allowed for an interesting rhythmic development instead of playing the same solo section groove throughout. However, this idea was later discarded since it became difficult to return to 90 the original groove and tempo naturally. At this point I also discarded the 6/8 modulation which had been an outside suggestion I had never really settled on. For the most part, the piece seemed easy to navigate through despite its rhythmic intricacies, harmonic movement and delay. However, some characteristics still remained absent. For example,

I couldn't decide on an intro, or on whether or not the piece even needed one.

Furthermore, I continued to feel as though certain parts of the composition were still in need of fine-tuning

Vigil: Alternate Environments In the summer of 2009 I began playing with a piano trio called "Red Blue Green."

The band consisted of Tom Richards (piano), Andrew Pacheco (bass) and myself on drums. In 2010 I brought in a lead sheet for Vigil in order to experiment in a different context and to promote some alternate musical ideas and suggestions. Throughout my composing career I have consistently found that one of the most useful techniques for forming interesting compositions is to perform them with a variety of skilled musicians.

Typically, after performing a composition, other players will provide useful feedback.

This type of process helped provide an awareness for designing and notating musical scores and parts for specific instruments, and, in some cases, individual players.

Furthermore, I received other useful feedback, pointing out elements of my compositions which I had failed to consider. This method of compositional editing has gone on throughout history, and some of the most celebrated composers belonged to groups which criticised and discussed each other's new compositions.

"Red Blue Green's" creative aspirations and results tend to differ from those of

"Half Beat Mishap." Often this band emphasises the Avant-garde and free 91 improvisational characteristics of jazz music, always changing the compositions at each performance. Two significant results emerged from sessions with "Red Blue Green."

The first was the realization that in this musical setting Vigil needed an introduction.

This became readily apparent because there was no designated comping instrument, causing the melody to sound texturally thin on the initial performance of the piece. "Red

Blue Green" would improvise an introduction each time we performed Vigil until a loose template materialized. During a different rehearsal with "Half Beat Mishap," as a collective, we decided upon a different 4-bar introduction that consisted of the bass and drums setting up the groove in a washy, broken 3 feel. At conception, I initially set up a groove for Ken and then asked him to improvise an accompanying part (in a broken 3 feel). This immediately resulted in producing the current introduction featured in the final recording (see score for Vigil).

The second major change was instigated during sessions with "Red Blue Green," with the diagnosis of some solo section issues. The current platform was awkward to play over and did not seem to inspire the piano player harmonically. This was mainly because of the stagnant nature of the interlude, which was at times perceived as the main portion of the solo. This band seemed to have particular difficulty playing this section and, after a few run-throughs, Tom suggested that instead of the majority of the soloing occurring over the interlude section, we treat the "A1" section (which was previously intended to function as a release from the interlude), as the main body of the solo.

As the drummer in many ensembles I know that, typically, the harmonic changes do not tend to dictate which rhythms or sounds I choose to use while soloing over specific sections. I then realized that because of this I might have failed to provide 92 enough harmonic substance for melodic soloists, who are used to playing over changes.

Perhaps a lack of experience improvising melodically over chord changes prevented me

from realizing this during Vigil's conception. However, by working these ideas out and hearing the music in real time played by real people, I was able to perceive, understand, and work toward remedying the situation.

Subsequently, during that session the interlude was used as a short build up which released into a lush, tonal section featuring the chords from "A1." Upon first try it

became apparent that the last Dmaj7 bar at the end of the solo changes needed to be taken out if this section were to repeat more effectively. This alteration produced a very

interesting solo because the final phrase was no longer square. It had become a 15-bar section which helped delay any resolution while the band repeated the changes. This

postponement ultimately allowed the section to build and loop smoothly, propelling the soloist to the beginning of "A1" each time. Finally, after solos provided a cue, it would

initiate a move to the extra Dmaj7 bars. This seemed like a smooth way to return to the

interlude, or when necessary, the top of the melody form.

These changes really helped to solidify Vigil because they gave the solos better

shape and a clearer form. There was structurally a beginning, middle and end for each soloist to play over, and this produced a movement away from what I often perceive as

"mere solos" on a jazz form. These features also inspired "Half Beat Mishap" to collectively improvise over the solo structure (a grounding element of the band), creating extended instances of group interplay rather than basic soloing. At the proceeding

rehearsals and gigs which followed, solo sections began to take on extraordinary shapes, 93 colours and moods, typically becoming improvisational moments, rather than solos which seemed to follow a more traditional context.

Vigil: Sound Recording Within the recorded version of Vigil (in my portfolio), the band was also able to construct two very distinctive moods over the same solo structure. In the recording,

Demitri helped lead a forceful and distorted sounding momentum that exploded into

"A1." The release occurred following a lengthy interlude build, instead of the shorter

"Red Blue Green" idea. Karen, on the other hand, approached and led this section using a lighter, spaced out phrasing during the interlude, gradually building in intensity before navigating softly into the "A1." Additionally, in the second solo section, Demitri joined

in, instigating various instances of group improvisation. It is important to consider that in

modern jazz the idea of solos, while still prominent, has in many cases shifted to include

more group interplay and collaborative improvisation sections which have seemingly

taken the place of the traditional "head in - solo - head out" scenarios. In this respect

Vigil provides a good example of a piece which harnesses this type of interaction and

substitution, rooting it more within a modern context than a traditional one.

There was one more significant change which occurred just prior to the "Half

Beat Mishap" recording of Vigil. I felt that when the band performed the melody it didn't

produce as much forward momentum as I had intended and I determined that it had a lot

to do with the rhythmic nature of the comping. I asked Demitri to play something I

described as "a circular rhythmic motion" within the comping, rather than playing something like the chords consistently on down beats. I further explained that a combination of finger picking and doubling of the melody might suffice. What he chose 94 to do was extremely effective and, following the recording of Vigil in late 2010 at CBC studios, upon the suggestion of David Mott, I integrated Demitri's comping part into the score, generating a counter melody. His embellishment of the melody in combination with playing the harmonic structure of the song created a dense and compelling layer. A great advantage of working with ensembles and other musicians is that you are able to try out your ideas and vague concepts with players who are masters of their domains. It is important to understand that while many possible comping approaches may have been equally as effective as Demitri's, due to the nature of our ensemble, his particular approach has become the standard to be considered when playing this song.

Using Available Resources Apparently, while attending Berkley, Quincy Jones used a similar method of trying out his compositional ideas and approaches with student big bands. Supposedly, he would bring in his compositions and ideas for the large ensemble and through trial and error he would determine what worked and what didn't. He used the ensemble to learn and practice compositional techniques which he later implemented when composing some interesting works for his orchestra.43 Using similar processes, I was able to gain sufficient knowledge and experience composing music which would better suit specific instrumentation and improvisation elements. The experience and knowledge obtained throughout the above processes has continued to be incredibly useful when composing.

43 David Mott. "Private Composition. " York University. (Toronto, CA: 2011). 95

Vigil: The Score Once I finally considered the composition to be complete and the recorded version had been performed the way I envisioned, I realized that the chart did not accurately represent a large number of the ideas and changes which were now essential to the execution of Vigil. At this time I re-wrote the chart, editing it continuously until I gradually formed a full score. I wrote in the materials which were present on the recording but absent from the preceding lead sheets, such as an introduction with a bass line and parts for all four instruments.

During this editing process I brought the score and recording of Vigil to David

Mott who caught theoretical errors which I had missed. One such slip was failing to insert an accompanying chord quality for two separate Bbmaj7 chords in the progression.

During both rehearsals and gigs, none of the musicians had ever played anything but a Bi> over those two chords. Since I had never heard a discrepancy while performing the piece,

I never considered it to be problematic and, foolishly, I failed to see the inaccuracy because I relied exclusively on my ears.

During our session, in order to make rhythms clearer, David suggested that I alter any instances where I used four-tuplets. I designed the score on Sibelius (a notation software program) and a lack of familiarity with advanced functions prevented the correct notation of quarter note tuplets. Additionally, I had to manually add in brackets

underneath each figure to clearly identify them as "four over three" rhythms. In the end,

since I was unable to find a timely solution to overcome this deficiency, I wrote the

figures as dotted eighth notes.

To complete the score I wrote in cues, rhythm shots, and other important phrases

pertaining to the bass and drum parts. I fixed a few minor text issues and charted a free 96 section for the drum solo. I also wrote the names of each instrument on each line throughout for ultimate consistency and an easier read. At last the score seemed accurate and the recording sounded well produced for my portfolio. I believe Vigil is a successful example of what I am capable of producing in terms of a modern jazz song.

Although this particular process seemed long and drawn out it nevertheless acted as a beneficial learning experience, providing numerous encounters with a variety of compositional and production issues. Furthermore, it developed techniques for constructing musical scores and noting theory. This composition procedure ultimately influenced the swiftness with which I now compose, when producing new compositions.

The following pieces, which are discussed in the next section, were written and produced at a high quality, but within a significantly shorter time frame than Vigil. 97

CHAPTER VIII - PIANO TRIO SESSIONS

Piano Trio Sessions In order to showcase contrasting forms of jazz and improvisational content, as well as to produce compositions which were not designed for any particular ensemble, the "piano sessions" are included in this project, and their associated recordings are included within my portfolio. Since I intentionally condensed the musical project into the shortest time frame permitted, sessions were set up so that only one rehearsal of the material would take place, followed by the recording of those materials within a week's

time. This was exercised for a variety of reasons.

The first motive was scheduling. In order to hire two musicians whom I thought

might suit this type of process, Tom Richards (piano and trombone) and Ken McDonald

(acoustic bass), and to get them to commit to being available for the recording, I needed

to create a production schedule which was flexible, minimally constrictive creatively, and

which was also achievable in a condensed period of time. Most importantly, I wanted to

assess my own abilities to write music, to notate parts and hire outside musicians, to

direct an ensemble during rehearsals and recording, to host and engineer the sessions, to

produce the recording, and to do all of this while accomplishing it in the shortest possible

time frame. I felt that this scenario would provide a good opportunity to compare and

learn from previous compositional experiences. The results seemed fairly positive, and in

many ways I am convinced that I was extremely successful in achieving my objectives. I

also feel that success was due, in part to the experiences I had while shaping Vigil.

For the "piano sessions," since it was a live setting, I was generally able to review

the written and audible material in its entirety with a greater degree of accuracy. In this 98 setting I was also able to experiment with particular performance elements and musical materials, some of which had not fully solidified. Through altering, expanding and diminishing performance parts (including evaluating my own percussion parts), as well as refining the musical materials when necessary, I was able to develop the composition quickly and effectively, often making instant decisions and receiving instantaneous results. As a trio we provided a fairly accurate playback of the materials, allowing us to reveal obvious instances of weakness within the compositions upon review. The above process was a necessary step in properly preparing the compositions for recording. Up until the initial session, I relied almost exclusively on my own imagination and the playback ability of Sibelius (a computer based notational programme) to get a rough idea of how things might sound. These methods did not supply accurate examples of realistic musical outcomes, and, therefore, it was difficult to say with certainty which of the materials needed to be altered, or in what way.

In rehearsal we tested out the use of introductions both "as written" alternatively employing some improvisational elements, in order to create interest. We sometimes excluded introductions altogether when they seemed unnecessary. In two of the pieces I wrote out alternate endings and provided interludes which could be inserted at multiple points within the form. This provided an opportunity for us to experience at which points the loose material was most suited.

Some of the other written materials also had a few notational errors. During rehearsal any content which appeared vague, which didn't seem to work with intended complementary musical lines, or which was written incorrectly, was remedied. 99

Ultimately, this experience presented a platform for editing and arranging the musical score alongside the musical performance.

The Compositions I wrote three pieces for this session entitled On a Train, Your Same Old Eyes and

Hlavina Nadrezi. The first two were ideas which I struggled to finish writing for many months, hammering them out in solitude on piano. I had given up working on them until a few weeks prior to the "piano sessions," when a stroke of inspiration encouraged me to re-work the ideas and notate them with Sibelius. I spent a lot of time experimenting, trying to solidify ideas and arrange them into the best possible sequences. When I made the decision to include the two pieces within my portfolio, I buckled down and finished the compositions quickly.

The blues entitled Hlavina Nadrezi was conceived in a very different manner. It was inspired by a live improvised solo by a guest who performed with one of my original bands. The idea floated around in my head for many months before coming to fruition during a vacation in Europe. It will be discussed later in this section.

On a Train The initial idea which inspired On a Train emerged during a piano improvisation as a single left hand bass pattern in 7/4 time. My preliminary intention was to compose a solo piano piece for film. I imagined a scene where a man riding a train stares out a window with unease, pondering a difficult choice. The bass line's rhythmic and harmonic ostinato quality was supposed to characterize an idle state, accompanied by streams of quickly shifting information. I attempted to imagine a busy internal dialogue 100 which might be a consequence of a person in this type of worrisome scenario. To accompany this hypothetical circumstance, I tried to create music which might portray the character's mood or feeling. The melody, which is rhythmically shifting, pushing and pulling over the top of the bass foundation, was designed to emulate a chaotic thought process.

Once the bass line was solidified at the piano, I notated it by entering it into

Sibelius. Following this, I began conceiving a melody line by notating my ideas directly into Sibelius. Writing this piece predominantly on Sibelius was an approach which I had rarely entertained, but it proved to be an effective way to compose some of the melody materials. At conception I was unable to maintain playing the bass line ostinato in one hand while performing or conceiving the melody line simultaneously in the right.

Composing using Sibelius provided a harmonic and rhythmic platform which could be played back on command while I tweaked melodies. I was able to use my rhythmic strengths to create melodic ideas which shifted around in instances of anticipation and delay, syncopating and interacting with the ostinato pattern (see score for On a Train).

When listening again to the new materials, I could adjust both rhythmic and melodic components in interesting ways which avoided direct repeats of some main materials.

The bass line provided a solid framework in which to compose a rhythmically diverse melody. The juxtaposition of the two lines seemed to create and carry a continuous tension. The tension wasn't overly forceful however. Thus it allowed a continuation of the material for an extended time. The melody began to shape into 4 distinct sections:

"A," which stated the main theme, "B," which utilized an opposing odd beat rhythmic framework against the bass line, section "C," which abandoned the ostinato pattern and 101 introduced new melodic material and "D," which provided a time signature change to 4/4 and introduced a new melodic theme against triadic harmony. Section "C" came about after completing the main theme which developed over the course of sections "A" and

"B."

The frequency with which the ostinato bass line was repeated, in combination with the continuous re-working of the main theme, produced an urge to create a release into different musical material. In many of my original compositions I tend to use musical release to thin out, or to build into thick, emphasised sections. In this particular instance I chose to develop the material by creating a rhythmically dense, eighth note

figure which contrasted with the broken phrases in the "A" and "B" (see score for On a

Train). I did this because the entire melody line up to this point was rhythmically sparse in comparison and seemed to suggest it. In the following days my interest in the melody and mood I created inspired me to work towards creating a version of On a Train which would be playable by an ensemble.

I initially tried to perform an early version of the piece at jam sessions with my ensembles, and at random gigs. Preliminary attempts were mostly unsuccessful in meeting my goals. I found that the materials, when performed did not translate well, or accurately reflect my intentions for the piece. Nor did they inspire instances of creative improvisation as I had hoped. Furthermore, On a Train was not written for horn instruments and this was a preliminary fault in one scenario. Eventually, I constructed more reader-friendly charts which I then brought into sessions with "Red Blue Green."

Since the composition was initiated through piano improvisation, I determined that it was essential that piano remain the primary melody instrument as well. Furthermore, I 102 suspected that personnel might have also been a factor in previously unsuccessful attempts. Over time I have learned to consider the tendencies of the musicians I play with, and as a result, when necessary, I tend to select players who are suited to particular projects. I often feel that many of my compositional ideas which do not instantly translate into a solid work still yield potential and may be useable at a later date.

During one session, "Red Blue Green" attempted to perform and arrange On a

Train by addressing some of the instances of musical conflict which did not seem to translate with ease while reading from the chart. The first major alteration was the elimination and reworking of the original written bass line shown in Figure 10. After playing the piece in an ensemble setting it became apparent that an adherence to the original ostinato bass line (created for solo piano) was rhythmically limiting for the bassist. The underlying chord progression seemed useable, but the rhythm of the line seemed to conflict with the drum part I had conceived. The drum groove, which characterized a 7/4 broken eighth note feel, seemed to suggest a funk style accompaniment and upon repeating the groove for a few minutes, bassist Andrew

Pacheco came up with an ideal bass line. It used the existing harmonic progression, but played off accents which I emphasised within the drumbeat (see score for On a Train).

The simplified bass line instigated a clearer execution of the material when it was performed as an ensemble piece. It consequently provided room for the drums to interact with the melody without sounding cluttered. Although the new bass part produced stability and also served the initial ostinato platform, it no longer continued unbroken throughout the entire first section. There were also instances where the ostinato line is interrupted by longer duration notes, and, in one particular occurrence, the line features 103 unison with the melody. Moreover, the thinner quality produced provided additional space for short moments of group improvisation of the written materials.

Figure 10 - Bass Line Comparison, On a Train

Original Bass i'Un 'if

Current Bass

Further suggestions which occurred during this session addressed some of the harmonic structures. Tom proposed adopting an open Bb minor harmony throughout the majority of the piece, and, ultimately, this provided more room for improvisation, a key

part of the jazz idiom and an element I wanted to exploit with this particular composition.

Instead of adhering exclusively to a continuous 4-chord progression, both the bass and

piano were given the option to improvise tones inside and outside of the loose open

harmony.

The last major modification which occurred at this rehearsal was a change to half

time at section "D." Initially, it remained at tempo while the time signature changed (to

4/4) and subsequently stated a new melodic theme. However, when running through the

piece with the ensemble, this section did not seem to transition smoothly or calm the

intensity of the piece in the intended way. At first, I had anticipated that this section,

which followed the denser "C," would serve as an end point. At this juncture, I also deleted most of the "D" section melody from the score, keeping just a fragment of it to

serve as a closing statement. I felt that presenting the melody in its entirety would be counter-productive since it seemed like there was already too much information being 104 performed. The absence of the melody line also created room for an optional bass feature and made for a larger dynamic variation within sections.

Rhythmic Principles Of primary interest with regard to this piece is the rhythmic principles employed in the melody line. I aimed at writing a piece in 7/4 to try and stray from my usual tendency to compose in 3/4 and 4/4 time signatures. More importantly, I was eager to try out various ways of breaking up rhythms in odd time signatures. Since this composition features a lack of square resolution per bar, both even and odd-beat figures tend to cross the bar lines and utilize syncopated rhythmic qualities. I also attempted to use rhythm in a way that I would not typically harness while playing the drums. Generally, as a drummer, I have a predisposition to hammer out obvious phrases and beat statements which avidly show where the groove and rhythmic accents are. In this case, the melody line does not easily reveal how the groove is being divided. In odd time signatures featuring 7 beats, basic combinations of 3, 2,2 or 2,2, 3 divisions are typically employed. On a Train uses the basic rhythmic skeleton of a 3,2,2 division. However, the melody, although adhering to that grid on the whole, at times seems to interrupt that sequence by superimposing offbeats and weak-beats against the underlying division. The absence of beat 1 in many of the beginnings of phrases also highlights this technique.

In the first 4 bars of the melody, the initial melodic statement begins delayed by an eighth note. The melodic response featured in the second fragment anticipates bar 2 by an eighth note. Bar 3 of the melody delays by a quarter note value and bar 4 finishes the phrase in opposing long notes. The melody ping-pongs back and forth in this manner, making use of various intervals of musical expectation and postponement to maintain momentum.

Section "B" adopts a 7 beat figure which opposes the 3, 2,2 skeleton. The reversal, which creates a 2, 2, 3 division over top of the underlying platform, instigates a dramatic alteration in the flow of the piece (see score for On a Train). The drums thin out, maintaining a steady urgency on the cymbals while the bass holds steady harmonically, playing a Bt> minor vamp. Following this, the melody and bass play a unison line while the drums cut out. The re-introduction of the main theme, an octave above, helps to promote a return to the original motif with an added intensity. Despite being similar materials, the band starts to give more energy dynamically, boiling the tension and approaching the release section ("C"). The "C" produces a higher density section which fills out the eighth note spaces characterized by the main theme. The "A" and "B" melody lines often suggest filling in more eighth note rhythms and this audible yearning sets up the expectation and craving for that effect. While the drums played off the melodic passage, the bass line initially presents a 2-bar counter melody which repeats.

At first, the rhythmic content of the bass line produced syncopation, together with the melody. Later on, during the actual recording of On a Train, the bass line took on a new shape. The results create a semi-polyphonic texture. It is important to recognize that I recorded the rehearsal session just prior to recording this piece, and, upon reviewing the materials, discovered these "happy accidents" which I then worked into the scores. Other Alterations In this particular composition the bass line I had initially notated for the "C" section eventually became a hybrid of both the original line and an improvisation which

Ken played during the final run-through of On a Train. When I heard the variation, I was instantly inspired to use it to create a new bass line. During the transition back to the head out of On a Train, Ken basically borrowed both melodic and rhythmic materials from the main melodic line of the "C", and it reminded me of a canon since he was, in a way, imitating the beginning portion of the piano part. That night I rewrote the bass part, along with any other changes necessary for the chart, and, during the recording session, I asked Ken to play off the new idea. Section "C" functioned as both a point of release and as a transition into a sombre, triadic "D" section.

The "D" is a thinner texture in comparison to the preceding "C" and also modulates to a half time (see score for On a Train). Initially I had only written bass notes for this section and later on, through performing the piece, this section expanded to include triadic accompaniment. Each time the piece was performed, the option to play a

brief bass solo produced an interesting and distinct section. The function of the bass was permitted to fluctuate away from the sturdy role it had throughout most of the piece and the half time change up produced a clear movement away from the other materials.

Solos In contrast to many of my previous jazz compositions such as Vigil, solos were the element considered least in On a Train. Since all of the musicians who performed this piece were proficient improvisers, I predicted that the solos would likely work out best if they were all open for interpretation. For example, Ken sometimes played solos in 107 the "D" section when he wanted to, as he wanted to, and Tom intentionally made his way outside of an open Bb minor platform, which, at moments, disintegrated the tonal

boundaries of his solos. Tom tends to explore what is beyond or outside of the harmonic suggestions, and I sought this characteristic and exploited its potential not only for this piece, but also for the entirety of the "piano sessions." Providing the least harmonic constriction for solos was something which I thought would create interesting results.

The only preconceptions for this section of On a Train were the way in which solos

would start and how they would end (via a cue). The rest was up to the musicians, our

reactions and responses to each other's musical substance.

Your Same Old Eves This piece was primarily conceived through a series of brief improvisation

sessions at the piano. I had worked with the main harmonic and melodic ideas on and off

for a few weeks and all of the material was executed using a left-hand-right-hand

alternation where I consistently played 7th chords accompanied by melodic right hand

materials. The result was a repetitious rhythmic figure of a chord on beat 1 and a dotted

quarter note rest in the right hand, followed by statements of melody. I worked to nullify

this rhythmic consistency by breaking up the materials, and displacing the melodic

content through moments of anticipation and delay. In a few particular instances, I

utilized 3 beat rhythmic figures to stretch melodic content over the bar lines. During this

process, I was able to realize that this compositional tendency, which depends exclusively

on my own performance abilities on certain instruments, was in many ways limiting.

However, I maintain the belief that some of my most creative work comes from natural 108 and improvised sessions. To remedy this issue, I typically edit and make alterations to those ideas later on in my process as a way to improve the composition and stimulate ideas which fall outside of my performance abilities. Generally, the initial conception acts as a rough copy for me to build upon through a continual re-working of the bare bones.

In general, when I write music by first notating it and then playing it with an

ensemble, I find it difficult to determine exactly what the outcome of the piece will be. I

enjoy playing the materials I write (a reason why I also play in many of the ensembles for

which I compose), but also in doing so I am able to better absorb the musical ideas I am

trying to formulate or review the materials I have already written. Without a realistic live

playback, there are typically a variety of issues which make it difficult for me to

accurately perceive how certain elements of my composition might actually sound when

performed. For example, Sibelius midi playback does not provide an adequate textural

example when various instrument are layered and performing the same part.

Furthermore, it frequently fails to accurately play many of the articulations which are

written into the score. Although my imagination can usually provide me with the sound I

would like to produce, often I need to further experiment with actual live instruments, or

synthesize a recording which more closely imitates the sound I am trying to produce. As

a composer, knowing how your music will sound before it is performed can prevent

performance mishaps and other undesirable outcomes.

Various arrangement issues arise from composing using this method. For

example, within Your Same Old Eyes an interlude section which I created could double as

an alternate ending. During my own performance of the piece (on solo piano), or when I 109 reviewed it via Sibelius playback, I had a hard time deciding exactly where to use the material. Just prior to the "piano sessions," I wasn't even sure that I was going to include the interlude in the piece at all. I thought the section was interesting, but until I heard it performed in a live setting, I found it difficult to determine exactly where it worked best.

The result of the live session was the implementation of the section as an interlude between solos. In a performance context, the interlude helped to break up a constant chord movement featured throughout the composition. I had failed to consider that such harmonic repetition might lose the listener or performer.

Following the rehearsal session with Tom and Ken, there was very little guess work involved. I no longer struggled to make decisions concerning the execution of various materials. I reviewed the rehearsal recordings, made performance notes and other changes to the charts, and, later that night, proceeded to make the necessary preparations for the recording date.

Hlavina Nadrezi In comparison, "Hlavina Nadrezi" was inspired by a trombone line from a solo which Tom performed at a concert in July 2009. At the time, he was part of a horn section for "The Break Down," another musical project with which I am involved.

During the performance, I was extremely taken by the initial burst of his solo and ever since that time I have had a similar melody or figure in my head. Over time it has resurfaced periodically, and, eventually, while I was strolling the streets of Prague and singing the melody I worked it into a shuffle-feel blues. The tempo was a perfect walking speed, and when I came back to Toronto, I wrote it down, added harmony, and 110 started to play it at gigs. My intention for this song was to create a fun and quirky blues, nothing out of the ordinary.

Personnel From the very beginning, I had both Ken and Tom in mind as the players I wanted to help me record these three compositions. We have played together as a unit on numerous occasions, often on the fly, with little or no rehearsal. Both musicians are extremely talented performers and composers. They are also excellent readers, and they are always willing to provide suggestions and embellishments to the musical structure of the materials I present to them. Ken is very adept at smoothing out harmonic progressions and creating effective bass lines off limited chord information. He generally has an excellent ear for filling in places where the harmony might be weak or for suggesting more interesting routes. I also picked Ken because, as a bassist, he is solid when it comes to holding the structure of pieces together. I chose Tom for his ability to do almost the exact opposite. He is a master when it comes to playing as outside the tonal centre as taste permits. Furthermore, he is an excellent sight reader and executer of both the written and improvised materials. Their combination produced a dynamic and musically interesting support for my original compositions.

During the rehearsal session, Tom asked a very important question. "Do you want us to stick to the page or..My response was: "I want us to play the music as naturally as possible." I already had a good idea of how they both might approach the compositions and my goal for this project was to produce three pieces within certain production parameters which I knew we could achieve. Moreover, our unit was adept at improvising over the written material, a feature I wished to highlight in this project. The Ill compositions were interpreted instead of simply being played as is. I provided concrete ideas and designated certain vocal instructions which pertained to specific performance choices, but I also knew that the more constraints I added, the harder it would be to play the materials, get great takes, and maintain the schedule I had outlined.

Although Tom mostly stuck to the rhythmic and melodic content of On a Train, he exploited the freedom of both the harmony and the improvisation solo-section in full force. On a Train required an exact interpretation of the main melody in order to fulfil my vision, and it also had to be executed with great care to avoid sloppy moments. On the other hand, Tom contrasted his approach by extensively manipulating the rhythm of the melody on Your Same Old Eyes. For me, this approach further accentuated the floaty quality I had intended to characterize in the piece, and further broke up the rhythmic consistency which I had been fighting to remedy. His left hand also filled in empty spaces with a pleasant and subtle rumble of notes for which I had only provided chord symbol information.

One of the best effects of Tom's left hand occurred in an improvisation of the melody in section "B" of Your Same Old Eyes. The melody really thins out and to increase intensity when necessary, Tom arpeggiated and rumbled between the notes of the chords creating a soft boiling effect. In this situation, the improvisational factor really helped bring new life to this section. Prior to rehearsal, I was uncertain how the "B" section, which was written last, would function. I had been struggling with this tune for some time, trying to find the right way to play the arrangement, the melody, and what to do in the "B" section. Once in context, The "B" seemed to integrate seamlessly with the rest of the material. 112

Some of the final changes which occurred dealt with dynamics and arrangement.

How many times to play the head in, when to play the interludes and where to bring intensity down, were vital decisions which were more easily made after running through the pieces. One important spot in the "B" of Your Same Old Eyes which utilized dynamics, was at the last four bars of the system. It dramatically softens at that moment in order to transition smoothly back to the "A." The "B" section, which emerges following a dynamic boiling point, needed to calm down in order to dissolve and transition back to the "A." During the rehearsal it became clear that in order to provide energy for the "B," we needed to begin the section at a softer dynamic level than I had previously predicted. Before making this change in volume, there was no room to build, since we had already achieved up to a fairly thick instrumental density by the end of "A."

Functioning as a Leader This project gave me the opportunity to be a leader. Despite playing in and with a number of bands and in various musical situations, I rarely get the chance, or proactively take the opportunity, to accept a lead role. This project was for my personal gain and it was important that I planned and executed the process efficiently and successfully, obtaining a great professional sounding product. The process unfolded in a step by step sequence, beginning with the writing of the musical materials and outlining a rough idea of the process by which I would realize the final products.

Following the completion of some written materials, I began by determining the session schedule for the musicians which I had selected to perform on the recording. I sent them charts to look over and practice ahead of time so that when we rehearsed we'd have familiarized ourselves with the materials. Of course I anticipated that neither of my 113 selected musicians would have the opportunity to really go over the music, and, for the most part, neither did I. The night before the rehearsal session, I set up the microphones and recording gear and organized the space for the best possible results.

I set up headphones for each musician and put up separation barriers between the bass and drums in order to isolate and prevent instrumental sound bleed. My studio is one big room and no matter what, without isolation, the microphones designated for each instrument typically pick up sounds from another. To overcome this I monitored the sounds we produced through headphones. This allowed the keyboard to record directly

into the software, eliminated any bleed from the piano, and provided an even monitor mix between instruments which also shared the same output signal. The rehearsal session was also an opportunity to test out how the recording would sound, what to do differently or

keep the same, and also, it provided time to encounter and resolve any unforeseeable

issues that might occur. For example, during the rehearsal I encountered latency issues and was able to determine the cause and resolve it without wasting time on the recording

date.

Since none of us had an opportunity to rehearse prior to our first session, I

patiently insisted we just rehearse the melodies and figure out arrangements in a leisurely

fashion in order to get materials polished and properly executed. During run-throughs, I

was continually formulating elements of my own parts and figuring out what I was going

to play. The consistent repetition of both the sections and the melodies of each piece

allowed an opportunity to craft my drum parts. Once the materials were well executed,

we proceeded to tackle other elements of the musical materials. Since improvisation 114 seemed to be a strength of our unit, I suggested that we refrain from focusing on the solos until the melodies felt comfortable.

After several performances of each piece, I made specific comments pertaining to

both Tom's and Ken's parts and took note of anything appealing or unappealing that they were doing. For example, in On a Train the "B" section opens up and I stop playing a funky groove. During this section, I asked Ken to alter what he was playing over the four chord progression and, instead, suggested he play a Bb minor pedal. I also asked him to

insert a few long notes directly after a unison line between the bass and piano which ends

section "B."

Throughout this production, I composed three jazz tunes, hired musicians,

directed the rehearsal, provided hospitality, and engineered, mixed and produced three

recordings. I also performed on the recordings and did this in order to highlight and to

strengthen my own abilities to compose in a variety of different musical situations and to

function as a leader. Depending on factors such as budgets, time restriction and

personnel, a composer might have to work extremely fast and with very few resources in

order to complete projects. Sometimes a budget might not permit hiring any musicians

and the composer must sometimes write, perform and produce the audio recording all by

himself. Thus, the ability to adapt, step into unfamiliar scenarios and take a leadership

role when necessary, are all attributes worth developing.

Producing the Recording Producing the recording was the final stage of this jazz session project. I put an

emphasis on capturing the audio to ensure that the physical end product was of the 115 highest quality I could produce. The recording process can often characterize the outcome of compositions. Technology has permitted the extensive manipulation of audio and due to this, pieces can be extensively transformed as a result of this process. For example, if an interesting piece of music is captured or produced poorly, it may take away from the listener's experience. Regardless of the quality of the musical composition, if the physical transmission of the piece is of a low quality, the audience may perceive that it is the written material and not necessarily a technical aspect of the recording that is of poor quality. For this reason, I recorded all of the portfolio content at my home studio, using specialized tools and took certain measures to ensure a good quality capture of desirable sounds. If you begin the post production phase of recording

with the best possible raw sounds, you don't have to spend extra time trying to artificially improve them. For this particular session, I emphasized microphone placement in order

to obtain specific desirable sounds and due to this, post production required only minimal

adjustments, techniques such as equalization and frequency manipulation. I set up two

high quality condensers and used one dynamic microphone to record the bass. Once captured, I mixed and balanced the volume levels of the different microphones in order to

tweak the tones further. This procedure is commonplace when recording live

instruments. For example, one of the bass microphones placed by the "f-holes" captured lower frequency sounds while string sound was more prevalent in the microphone aimed at the bridge. To balance the bass, I mixed the three tracks to create a combined tone which accentuated the elements which where dominant in each. I applied reverb to the trio of instruments and equalization to a few of the drums in order to add depth and warmth to the raws. This process also hid instances of excess hum or unwanted 116 frequency which jumped out periodically. Since there was sufficient bleed in both the drum and bass microphones, any dramatic change in one instrument would ultimately affect the other and therefore I refrained from "overproducing."

Prior to shaping tones, I listened back to the takes following the recording session, and, once a final take was selected, I proceeded to edit any rhythmic mishaps. There were only a few instances which I felt required alteration and I proceeded to use cut and paste methods within Logic to nudge the audio into desired positions. During this procedure I also verified exactly where the beginnings and ends of the tracks would be.

I made a bounce (version in a playable format such as Wav.) of each piece and listened back to it while making note of instances and characteristics which I wanted to change.

For this recording I primarily focused on getting a great bass sound. Since the project used a trio, the individual instruments are very exposed. As stated, I balanced and used a combination of three microphones, one on the bridge, the right side "f-hole" and the left side of the bridge strings. I enhanced the qualities of each microphone which provided percussive sounds, low bass frequencies and string definition to obtain my desired resonance. I also added reverb to smooth and blend the three into one unified bass sound. Fusing the three tones dramatically improved the density and definition of the bass within the recording. I also applied a similar technique to the drums, but with less intensity. For the piano, I simply applied reverb.

One non-traditional application I used in this recording was applying moments of delay effect to the drums in Your Same Old Eyes. Ken had elucidated during the first session that he envisioned various digitalized production elements throughout some of the music and although I agreed with him, that was not my intention for this specific project. 117

However, I found it to be an idea worth entertaining. Nevertheless, while mixing the takes, I discovered instances where delay would accentuate the music. One instance, where I executed triplet fills which drifted over the bar lines, was slightly extended due to the delay effect. By adding delay in similar situations I was also able to accentuate fluidity and the spacey quality of the composition. The results are very subtle, but they add an ornamental layer to the drum part.

Writing for Jazz Writing for jazz requires a composer to understand theoretical music principles, standard compositional forms (such as standard 32 bar, A, A, B, A and 12 bar blues) and

elements of its tradition. Furthermore, jazz performance experience is extremely helpful.

Understanding and utilizing appropriate notational language and associated terms can also permit a composer to write and notate music which can then be performed by live musicians. Having knowledge and experience arranging thematic ideas is also valuable.

In jazz, compositions are often notated in the form of lead sheets. In certain

situations, they can be important tools which enable ensembles to immediately play

through new compositions. A composer must be able to transfer his or her musical ideas

to paper, particularly when writing for jazz. By doing so, performers can then accurately

play the pieces using the composer's designated guidelines and intentions for the music.

Playing by ear can be a useful technique, but when performing a piece on the fly, reading

from a lead sheet is generally the norm.

In order to construct appropriate instrumental parts for lead sheets, composers

must consider the performance and sound characteristics of instruments. This can be

crucial to composing melodies and harmonies which are within the capacities of both the 118 player and instrument. For example, for a standard tuned four string acoustic bass, a low

E b is the deepest note obtainable without further tuning manipulation. Notating a low

D $ in the bass part will ultimately result in a conflict unless the bassist tunes down a tone.

Syncopated rhythm principles, as well as different time feels such as swing, straight 8ths and afro-cuban are also important considerations for this art form.

Many of the feels and styles associated with jazz stem from traditional or outside influences that, throughout its musical evolution have come to define certain jazz music.

The influence of some contemporary genres such as funk, rock and world music appear to be progressively more commonplace in a modern jazz context. Given this, actively seeking exposure to and, making use of music principles borrowed from a multitude of diverse musical realms, can significantly influence writing jazz with a seemingly more traditional or modern approach.

Knowledge of transposition for conventional and mainstream writing is also helpful. In unrehearsed situations providing transposed lead sheets for players who play horns can improve the outcome since the player no longer needs to interpret the notes further. Being a performer and having experience playing melodic instruments can provide a huge advantage for a composer. Knowledge of melodic materials and how to produce them on various instruments ultimately provides a perspective into how music translates from a page. Furthermore, developing a good understanding of harmonic accompaniment is also encouraged to better support the melodic materials.

The improvisational factor of jazz may be a key element to consider. How the musicians interpret written compositions will ultimately shape the physical outcome of the performance. A composer should clearly indicate instances where music should be 119 played as written and where interpretation is encouraged. By providing proper improvisational templates such as "changes," those materials become integrated as sections within the composition instead of something outside or disconnected from the actual piece. Some other useful aspects within a chart are example parts, rhythm section shots, and short descriptions which generally provide more substance from which the players can create. In most instances the more information provided on the chart, the easier it is for musicians to perform it. All the jazz compositions presented in this project are provided in both a recorded audio format as well as a full score. 120

CHAPTER IX - ADDITIONAL PORTFOLIO COMPOSITIONS

Additional Compositions Within my portfolio are a couple of compositions which either fall under a different category than the scope of this paper or which did not make the final cut for the projects for which they were intended. However, I have included them in the portfolio for a couple of reasons: to provide examples of music for contexts and in genres which I have not discussed and explored within this paper, but which are still relevant in my overall scope, and to showcase materials written for other genres and styles such as rock and pop which might also fit some of the above contexts.

Firing Line Firing Line is a composition which showcases my ability to write in popular music genres. This composition imitates a 1990's "Grunge" style, and was written while my thesis idea was in its infancy. At the time, I was using the composing and producing process to get acquainted with the parameters of Logic Pro. As a result, Firing Line's production quality is of a lower value than the other compositions. One unique aspect of this piece is that it contains extensive instances of electric guitars. It frequently uses simultaneous performance of multiple layers of guitar which is an element absent from all of the other compositions within the portfolio. The piece also uses an abundance of vocal lines, three part vocal harmony, and layering of counter melodies. Most notably, this piece was designed to develop and ingrain in the listener a musical motif called "the hook" ("the hook" is a recurring musical motif, which is accentuated and sometimes developed throughout most popular music compositions). When successful, "the hook" 121 is the portion of the song that is most memorable for the listener. It is arguably the most important and essential element of any popular music composition and for this reason, it was the main focus for this piece. Another distinguishing factor is that this composition was conceived and recorded entirely using live instruments and performers. There were

no midi instruments present within this process and none on the recording.

Take Flight Take Flight is a composition for solo piano which was originally intended for use

as part of the Ninjics videogame soundtrack. As a result, it uses many of the same

harmonic and rhythmic principles as Fate's Push. However, it is more melodically

based, using a distinct right hand piano part which produces lyrical melodic lines. This

piece also features multiple sections which can be looped indefinitely when necessary in

order to better serve game play needs. The piece was first conceived at the piano,

through improvisational sessions, as was the case with many of the works in my

portfolio. Once the main themes were realized, I worked to compose the rest of the

material, edit and arrange the motives using Sibelius. 122

CHAPTER X - THE MUSIC BUSINESS: LICENSING. COPYRIGHT AND PUBLISHING

The Music Business This section will examine and explain the basics of regulation and use of musical compositions within a worldwide business context. It will address some common misconceptions regarding both publishing and copyright, as well as help to distinguish between the two. It will further provide useful insight for young composers regarding techniques for evaluating the worth of job opportunities as well as for retaining as many of their rights as possible when entering into agreements with producers. It will also

define and examine some typical offers, discuss licensing of music for commercial

purposes and other important business aspects.

Licensing Licensing a piece of music is the act of granting permission for an agreed fee for

the use of part of compositions or entire compositions for commercial purposes.44 In

most cases, in order to license a piece of music, the material must first be published. This

does not pertain to agreements struck independently with composers and producers,

which are more typical in low budget or independent situations. Currently, the music

licensing focus is on exploiting music which has the potential to be used in many

commercial situations. In order to maximize profits, music publishers will make

compositions available for licensing for almost any use. For example, a company might

make a deal for a computer chip placed in a bottle which plays a portion of music every

44 And Now - The soundtrack Business: The Hows and Whys of the Business for Music Soundtracks in Film, Television and New Media. DVD. GCFC. (Toronto, Canada: GCFC, 2005). 123 time it is opened. A decade ago, milk cartons would "moo" when a winning container was opened and this concept has in some situations been adapted to generate revenues for composers. Using popular music pieces in commercials and as themes for commercial products or popular personnel have also subsidized profits and provided new and unique promotions for artists.

A composer should develop a basic knowledge and understanding of licensing when producing works for any of the areas examined within this thesis. Knowing the associated language as well as how music licensing operates within the music industry may influence the profits a composer can generate. Furthermore, the agreements for the publishing and licensing of a piece of music may also determine what portion of a composition remains the property of a composer.45 Young and inexperienced composers often give up more of their copyright than they need to out of ignorance. In such instances the composer makes less money from works as well as, typically, losing large portions, or, in extreme situations, all of their rights to entire compositions. Losing control over works can lead to little or no royalties, which can make up a significant chunk of a composer's income. The following section will provide some basic information regarding copyright, publishing and other principles which a composer should know before publishing and licensing his or her music for commercial use.

45 And Now - The soundtrack Business: The Hows and Whys of the Business for Music Soundtracks in Film, Television and New Media. DVD. GCFC. (Toronto, Canada: GCFC, 2005). 124

Copyright Copyright refers to the exclusive legal right to reproduce and control a work of art including music, lyrics, books, films, etc... and falls under federal jurisdiction.46 The moment a composer creates a piece of music, he or she obtains what is called "fixation"

(intellectual or moral copyright) over the work. This means that as long as the music has been produced in a tangible physical form, such as an audio recording or paper score, the creator owns all of the exclusive rights to that art. However, there are times when a composer may choose to give up some of those rights in order to sell or make a profit.

Copyright is not a singular entity. It is actually a bundle of exclusive rights pertaining to the uses of artistic works within the current industry. They are: the right to reproduce a work of art, distribute it, to create derivatives, the right to display the artwork publically, and, to perform it publically.

"Moral Rights pertain to the artistic integrity of a musical work which is owned by the composer and can never be assigned. Performing Rights permit the performance of a musical work in public. The performance can be live, or communicated by telecommunications (radio, film, TV). Mechanical Rights provide permission to make derivatives of the musical work. The Canadian Musical Reproduction Rights Agency (CMRRA) and the Mechanical Reproduction Rights Society regulate this right, which is an intermediary between the people who own compositions and the ones who want to use them. Synchronization refers to the right to synchronize the musical work with visual images, as in a film or television program. The two firms which govern this right are the CMRRA and for French composers in Montreal, SODRAC. Distribution rights permit a work to be dispersed publically and sold."47

46 And Now - The soundtrack Business: The Hows and Whys of the Business for Music Soundtracks in Film, Television and New Media. DVD. GCFC. (Toronto, Canada: GCFC, 2005). 47 Ibid. 125

A professional composer regularly deals with contracts which require him or her to give up or lease certain rights in order to profit from his or her work. Therefore, a knowledge and understanding of copyright is necessary in order to realize exactly which rights need to be relinquished for use in different media, and which rights do not need to be transferred in order to ensure creative control over a work or to instigate royalty collection. For example, if a composer gives up his or her performing rights, then he or she will receive no royalties when the work is aired on major broadcast stations or is performed or displayed publically. It is also for this reason that consulting a competent entertainment or intellectual property (IP) lawyer is encouraged.

In many cases producers of projects do not understand how copyright works either and, often, they believe that they need all of the rights in order to use music. This is generally a misconception and can be a costly move for a composer to make since there are few instances when all rights are required for a deal. Furthermore, in such a scenario, the deal should involve a hefty upfront payment to subside the composer who would lose control of his or her art. A producer who is trying to license a piece for a film needs world wide perpetual use in any or all media, here now or made after.48 In this situation, they only need synchronization and to some extent, mechanical rights. This will release the piece for use within a movie and wherever it is played. This transaction can occur via a contract signed by the producer and composer.

4SAnd Now - The soundtrack Business: The Hows and Whys of the Business for Music Soundtracks in Film, Television and New Media. DVD. GCFC. (Toronto, Canada: GCFC, 2005). 126

Music Publishing Music publishing is a way to make a composition available to the public. Music publishers own compositions and it is their exclusive right to license them for various uses. They can sell and divide ownership since music is a form of property and it is (in most cases) the publisher who gives permission for others to use songs.49 In most situations, artists enter into agreements with and assign their rights to publishers because a publishing company usually has more contacts and ways to exploit compositions than the composer does. Whenever music is used anywhere in the world, the publisher collects most of that, and splits it, in most cases fifty-fifty with the artist. There are two

major music publishing companies, EMI M.P and Warner/Chappell, which administer

over one million compositions each. There are also a number of other smaller companies

which also license music around the world and in some cases, independent artists will self

-publish or create their own publishing companies as a way to keep greater control over

their works, as well as to maximize their profits. However, drawbacks of this decision could include that the artist increases his or her work burden and if too few consumers are aware of the artist or where to find his or her materials, additional revenue will likely be

limited.

Since "the main sources of publishing revenue comes from record sales, broadcast

performances, and licensing for films, TV and commercials and from sheet music,"50 it is

usually beneficial for a composer to assign certain rights to publishers or other societies

which regulate and collect royalties on behalf of the artist. Socan is the largest Canadian

49 And Now - The soundtrack Business: The Hows and Whys of the Business for Music Soundtracks in Film, Television and New Media. DVD. GCFC. (Toronto, Canada: GCFC, 2005). 50 Ibid. 127 organization which collects performance rights on behalf of their members and represents the worldwide musical repertoire of Canada. Artists assign their performing rights on a exclusive basis to Socan and the organization collects those fees when compositions are broadcast and converts them into royalties for right holders. Rights can be divided, transferred and sold variously. For example, performing rights can be assigned to Socan, mechanical rights to a mechanical rights society or copyright itself can be given to a publisher. The composer sets up a separate agreement in each case and in general, agreements produce a mutual beneficence for both parties.

The Difference Between Copyright and Publishing It is important to note that publishing and copyright, although interconnected, are not the same thing. While publishing makes materials available for use, copyright deals with ownership of the master copy of the work. For example, if I produced a cover song and recorded it, I would own the master rights to that specific recording. However, in order to do anything with that recording, I would likely need to obtain from the publisher of that original song, at the very least, the mechanical rights.

Most composers depend on back end royalties, produced when their work is broadcast on air as a primary source of income. Establishing a greater understanding of the above concepts can likely help a composer retain more of their publishing and copyrights, thus increasing their income. Furthermore, publishing works helps to make them available for licensing and therefore provides the composer with the opportunity to make more profits from his or her work. Before entering into any agreements with producers, publishing companies or anyone else, it is wise to complete a significant 128 amount of research on these topics to fully understand the implications of the decisions a composer will make regarding his or her precious art.

Evaluating Agreements In the early stages of professional composition, the writer must realize how to make use of his or her time most effectively for the fees he or she is to be paid. There are many ways to negotiate agreements between composers and producers and the ability to appropriate the balance between profit and the number of hours required to complete the job can be helpful. "All in fees" are a staple for the novice composer and generally the way in which I have worked thus far. This agreement generally requires the composer to write, produce, record on proper format and deliver the music all for a fixed price. In this scenario all responsibilities lie with the composer. This heavy burden which includes the possibility of having to work overtime, equipment costs, and paying hired musicians can easily erode profits and may lead to a stressful outcome. In this situation, creating a

music budget can be an effective way to avoid losing profits while organizing a process.

A composer should establish a value for everything involved, including his or her hours

of work, his or her time spent in meetings, in talking about the production, in composing,

and in taking care of business. Considering all of these aspects may help young composers determine if a job opportunity is really worth accepting. 129

CHAPTER XI CONCLUSIONS

Conclusions My intention for this project was to research and compose an abundance of music for many different purposes. However, in order to maintain a focus, I narrowed my scope to highlight three principal areas of composition and primarily produced pieces of music which fit these contexts. I began by researching and composing music for each area of interest in order to uncover what was involved in each process and to gain awareness for using music to accompany these situations. During this time, I also investigated the historical and current circumstances of each. I have discovered that music industry seems to be in perpetual state of change, continually developing in terms of technological and functional trends. Due to this, a composer must continually develop, research and

explore the industry, even when fulfilling familiar roles, since standard formats and audio

consoles change within short periods of time. Remaining up to date and having sufficient

knowledge of various media can be crucial for continued success.

Throughout this procedure I obtained insight from analysing and researching

professionals within these media streams. Within each area, notable composers stressed

the importance of taking into account "what you are writing for." In some fields, it is

commonplace to leave room for elements of the production such as dialogue or sound

effects. Awareness of these characteristics helps to reveal the functionality of

soundtracks.

Another way in which I was able to develop and approach new areas of

composition was by referencing past work and experience performing and composing

music in related situations. Since many compositional environments make use of similar 130 skill sets and processes, I was able to use my previous experiences and knowledge to explore opportunities which, prior to this project, were outside of my norm. To some degree, this also helped maintain continuity in my creative style despite frequent switching between purposes. Another positive outcome of this project was meeting new contacts and producers in different compositional scenarios. Each person yielded insights

into the ways in which composers are contracted to compose music in their area of

expertise. It also stimulated an investigation into basic business aspects of professional composition.

In some of the musical situations in which I participated, I was required to make

choices which would directly affect the creative outcomes of projects. This necessitated

sensitivity in choosing the functionality and direction of my music for specific media

content and also provided an opportunity to work in similar scenarios with different

personnel and restrictions.

During this process, I realized just how integral music could be within certain

media. Consequently, I was also able to ascertain, music can often negatively affect a

project or fail to support it. From completing this experience I have gained awareness of

how to approach composing music for various purposes. I have also determined many

characteristics which are native to particular areas of interest and which require specific

attention to details in order to create appropriate musical accompaniment.

Mv Common Processes Throughout this project, I have revealed that I have many compositional

tendencies and habits which have yielded both positive and negative consequences for

my music. For example, the way that I tend to use rhythm seems to be a fundamental 131 aspect of my musical nature (since drums are my primary instrument). Many of my compositions channel strong rhythmic principles and motives such as ostinato patterns and two line syncopated voices, which, lay the foundation for melodic, and harmonic materials. Rhythm generally drives my compositions and during this project I was able to acknowledge certain deficiencies in my skill set which I have worked to improve.

Improvisation is also a foundational practice for my composing. A majority of my music comes from moments of inspiration which occur while improvising on various instruments, from humming, singing, and drumming. Group improvisation is also a vehicle which has provided me with some compositional starting points and development. Recording these improvisations and documenting the usable material has, in many situations yielded interesting ideas, and, in some instances, produced entire compositions. Furthermore, when improvising I find that mood and emotion are more naturally inherent within the music and can be more easily developed and manipulated later on in the process.

A strong sense of mood is a characteristic which seems to be embodied in many of my pieces. I generally strive to capture an atmosphere or emotional centre within each piece. Particularly when writing soundtrack music, I have a tendency to write compositions which are intended to embellish or accentuate certain characteristics of associated materials. Within my process, highlighting the emotional content, or in visual media, the energy of the on-screen events is usually primary.

Functionality is another important element which I attempt to discover or define in my compositions. I tend to create music which aims at supporting a practical function either for art's sake or for some other supplementary commercial purpose. I find it 132 fascinating how music can enhance other art forms, as well as stand on its own, and this duality allows me to shift back and forth between my own personal creative outlet and

music which captures and supports outsiders' intentions. Sometimes compositions seem

to support multiple uses and, at other times, a piece which was intended to serve one

contexts fails, yet seems to work better in another situation. In this respect I found that

some failed compositions created during this project still held significant worth.

Trial and error continues to be a pivotal factor in my work. In order to learn and

produce music for new areas of study, I have continually attempted and failed at

achieving certain goals but, through this process, also strengthened my compositional

prowess from these experiences. During this time, I was able to practice, experiment and

develop effective techniques for manipulating and mixing audio into polished

compositional forms.

Using all of the tools and resources available to me at any given time, such as my

home studio space, equipment, and other personnel has been extremely important to the

creation and development of many recent pieces. Furthermore, maintaining relationships

with other composer and performers usually yields interesting opportunities. For this

project it provided opportunities to meet with other composers, performers, and persons

associated with the media streams I have investigated in order to discuss, their work and

perspectives.

Access to digital resources increased the scope of my compositional reach by

permitting both the composing and producing of music using a single computer program.

In this project, midi played a huge role in the creation and production of compositions. A

great variety of recording technologies are available (such as sequencers and music 133 notation software). These technologies have become integral to my creative process as important tools for composing. With these resources, I am able to compose, fuse digital and acoustic instruments and produce a wider variety of physical products on my own.

Furthermore, access to sound banks which contain an assortment of "worldly" sounds, synthesizers and sound effects makes composing for various purposes more affordable and manageable.

The Composer When composing music for various purposes, composers must evaluate their roles

within projects. Consideration and flexibility are assets which help the composer to

determine the project's intentions and needs. A professional composer must always

produce appropriate compositions in a timely manner and at a high quality. In order to do

so, it is necessary to have a strong creative dexterity and knowledge regarding

compositional procedures, technologies and trends in associated compositional

environments. In some respect, it doesn't seem to matter which techniques or methods

are employed to write, produce and complete a composition so long as the composer gets

the job done on time, at a high quality and within the desired parameters designated by

the producer or inherent in the production. In modern day composition, few composers

seem to flourish within a single niche. Consequently, many modern day composers

appear to be expanding their domains into a variety of seemingly unrelated compositional

areas. Some of these contexts have given rise to new and interesting musical

opportunities and, in order to take full advantage of the compositional industry,

composers must develop flexibility, confidence and skills sets which permit them to

produce compositions for different contexts. 134

CHAPTER XII - MUSIC SCORES

Fate's Push

Fate's Push Jay Sussman Intense. = 120

Voice

Siren

Clavichord

Clav. II

Piano

Synthesizer Bass

Electric Organ

Violin I

Violin 2

Violin 3

Congas

Dmm Set "4r- J»7 9 7 o * f~ .f7 0 7 (Drummer use basic figure and adlib.) Copyright © 2010 135

Voicc

S. Solo

Clav.

Clav. II

Pno.

Synth.

E. Org.

Vln. 1

Vln.2

Vln.3

Congas rj-n r- s> 9 7 9 * 'r s-> 9 * ypy'r j7 p 7 136

7

Voice

S. Solo

Clav.

Pno.

Synth.

E. Org.

Vln.

Vln.

Vln. 3

Congas

Dr. 137

Voicc

S. Solo

Clav.

Clav. II

Pno.

Synth.

E. Org.

Vln. 1

Vln. 2

Vln. 3

Congas

r- f 9 7 9 * r f p 7 9 * r- j*7 p 7 9 *= 138

Voicc

S. Solo

Clav.

Clav. II

Pno.

Synth.

E. Org.

Vln. 1

Vln.2

Vln. 3

Congas

r 9 * w r f 9 7 9 * r- p 7 p ^ 139

(Raspy voice gradually climing) (Through Megaphone)

Voice

PP cn» == Hoo S. Solo

Clav.

Clav. II

Pno.

Synth.

E. Org.

Vln. I mp Cres.

Vln.2 mp Cres.

Vln.3 mp Cres. Congas

Dr. 140

Voice

S. Solo

ifr1* »jjtj Clav. •

Clav. II

Synth.

E. Org.

Vln. I

Vln.2

Vln.3 Cres. Congas mrLr err ^icccrLr ccr^

Dr. 141 142

24

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S. Solo

Clav.

Clav. II

Pno.

Synth.

E. Org.

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Vln.2

Vln.3

Congas

Dr. 143

(Raspy Yell)

Voice

(Siren)

S. Solo

Clav.

Clav. II

Pno.

Synth.

E. Oig.

Vln. I

Vln. 2

Vln. 3

Congas

(Bell) JT3 J~1 O 144

29

Voice

S. Solo

Clav.

Clav. II

Pno.

Synth.

E.Org.

Vln. 1

Vln.2

Vln.3

Congas

Dr. 145

31

Voice

S.Solo

Clav.

Clav. II

Pno.

Synth.

E.Org.

Vln. 1

Vln. 2

Vln.3

Congas

Dr. 146

Underworld Theme

Ninjics: Underworld Theme Jay Sussman nay on the Best»- 120 (Triplet Delay FX) -

Lead Vocals

Synthesizer Voice

Japanese Koto

Didgendoo

Large Gong

Cocoa Bean Rattle

Drum Set

Bass Drum

Ld. Vox.

^ —— Synth.'

I'Wi!

» B B B

(Play a C natural) Adlib. Didg. 0

Gong.

» HIH ay jN _^j Si Dr.

tt «

Copyright C 2011 147

10

LA Vox.

Synth.

J. Koto.

Gong.

C.B.R.

Dr.

B. D. ^ „ Ld. Vox.

Synth.

J. Koto.

Didg.

Gong.

C.B.R.

Dr.

B. D. 148

20

Ld Vox.

Synth.

J. Koto.

Didg.

(Switch to Large Tubular Bell) Gong.

C.B.R.

Dr.

B. D.

Ld. Vox.

Synth.

m

J. Koto.

(Strike with Hammer) (Switch to Gcmg Mallet) (Gong) Gong.

C.B.R.

Dr.

B. D. 149

(Triplet Delay FX) Ld. Vox.

Shh. ahh

Synth.

Vib.

J. Koto.

Didg.

Gong.

C.B.R. iO Dr.

B. D.

Ld. Vox.

Synth.

Vib. J. Koto.

Didg.

Gong.

C.B.R.

Dr.

B. D. 150

38

LA Vox.

Synth.

J. Koto.

Didg.

Gong.

C.B.R.

Dr.

B. D.

43

LA Vox.

Synth.

Vib.

J. Koto. -jsr Didg.

(Gong) Gong.

C.B.R.

Dr.

B. D. 151

46

LA Vox.

Synth.

J. Koto.

D«dg.

Gong.

C.B.R. n Dr.

B. D. 152

Escate

Composed by: Jay Sussman Escate Soundtrack Lyrics by: Jason Jones Back B««t. - 106

Lead Vocals

Backing Vocals

Keyboard {

Synthesizer <

Lead Guitar

Bass Guitar

• I.S - Improvise Scratching

r--(I.S)-, ' (I S) DJ Scratch II I / • / / / /

Hand Cap 4 *I * J * J I J * J / + o £ >• C 9»- J J j J J J . J J J > J J J j xT] Drum Set

Back Beat . = 106 Hip Hop feel Copyright C 2011 153

3

Ld. Vox.

Bk. Vox.

«Sf Uh uh yean. just check it out

Kbd.

Synth.

Ld. Gtr.

Bass

(IS) DJ.

HC.

r r v pr r* 154

6

Ld. Vox.

Bk. Vox.

Uh just check iL

Kbd.

Synth.

Ld. Gtr.

Bass

(Vox Sample with Delay FX) DJ.

HC.

Dr. 155

9

Ld. Vox.

Free-doms on my mind when these wheels hit the ground

Bk. Vox.

Kbd.

Synth.

(Otstortion & Wah Wah FX) (Improv noise) (Muted no fixed pitch) •~3J—i Ld. Gtr.

(I-S) DJ.

HC.

Dr. 156

(Delay FX)

Ld. Vox.

Wind is on my back rea-dy to make the jump. Jump.

Bk. Vox.

Juju jujujujuju

Kbd.

Synth.

(Improv) (Muted)

Ld. Gtr.

Bass

(IS) DJ.

HC.

Dr. 157

Ld. Vox.

Do~ingwhat I want Go nna rock (tie spot'cause you're on-ly in the wrong If you. get caught

Bk. Vox.

Kbd.

Synth.

(Muted)

Ld. Gtr.

(I-S) DJ.

HC.

Dr. 158

16

Ld. Vox.

fee-ling the groove groove as the beat drops.

Bk. Vox.

Kbd.

Synth.

(Muted) Rest 0:39sec - Cue 0:46sec

Ld. Gtr.

Bass

(I.S) DJ.

HC.

Dr. 159

Drum and Bass. = 170 20

Ld. Vox.

Bk. Vox.

Kbd.

Synth.

Id. Gtr.

Bass

DJ.

HC.

Cue 0:46sec

Dr.

PPP Drum and Bass. -170 160

24

Ld. Vox.

Bk. Vox.

Kbd.

Synth.

Ld. Gtr.

Bass

DJ.

HC.

Dr. 161

Ld. Vox.

Bk. Vox.

Kbd.

(Change to Trance Chord Pad)

Synth.

Ld. Gtr.

(Use Synth FX) (Turn off FX)

Bass PP

DJ.

HC.

Dr. 162

32 '(Triplet Delay = T.O) (Vbcal Noise lmprov)i f7 0*

Ld. Vox.

V Go f Come

Bk. Vox.

Kbd.

(Trance Chord Pad)

Synth.

Ld. Gtr.

(Ptay with no tone or string sound)

Bass

DJ.

HC.

Dr. 163

36

Ld. Vox.

Bk. Vox.

Kbd.

Synth.

Ld. Gtr.

DJ.

HC.

Dr.

•LH Hits open HH 164

40

Ld. Vox.

Bk. Vox.

(Floaty FX)

Kbd.

(Bottle Smash)

Synth.

Ld. Gtr.

Bass

DJ.

HC.

Cue 1:17sec

Dr. 165

4e (T.D) (Vocal Noise Improv)

Ld. Vox.

Bk. Vox.

Kbd.

Synth.

Ld. Gtr.

(Slide)

Bass

DJ.

HC.

Rest 1:26sec

Dr. 166

(Change to wooden Flute in G) (Wooden Rute)

Ld. Vox.

BK. Vox.

Kbd.

Synth.

Ld. Gtr.

Bass

DJ.

HC.

Cue1:36sec

Dr. 167

(Credits)

Ld. Vox.

Bk. Vox.

Kbd.

Synth.

Ld. Gtr.

Bass

Cue 1:53sec

DJ.

HC.

Cue 1:53sec

Dr. 168

Ld. Vox.

Free-doms on my mind when these And I'm A

Bk. Vox.

Kbd.

Synth.

Ld. Gtr.

Bass

(IS) DJ.

HC.

Or. p r r l 169

Ld. Vox.

reb-le with a cause of stick-ing it to the

Bk. Vox.

Kbd.

Synth.

Ld. Gtr.

Bass

(1.8) DJ.

HC.

Dr. 170

(Delay FX)

Ld. Vox.

Wmdis onmyback rea-dytomakethe jump.

Bk. Vox.

Ju ju ju ju ju ju ju

Kbd.

Synth.

Ld. Gtr.

(IS) DJ.

HC.

Dr. 171

69

Ld. Vox.

want.

Bk. Vox.

Yeah.

Kbd.

Synth.

Ld. Gtr.

Bass

(Vox Sample with Delay FX) DJ. X s\s S S S

HC.

Dr. 172

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Form: Head 2x, Piano Solo, Bass Solo, trade 4's. Head out Copyright © 2011 Firing Line

Firing Line Jay SuMman * 120 j intro |

Backing Vocals

Backing Vbcals II

Electric Guitar

Lead Guitar

Rythm Guitar

P*m Mute With Distortion FX

Rhyttim

Copyright O 2010 'Playas Flam 185

•Vox With Revert) FX Ld. Vox.

know to seethoee

Bk. Vox II.

E.Gtr.

Ld. Gtr.

*P.M With Distortion FX

Rhythm

'(Alt Rhythm Guitars Are Doubted)

Dr.

13

Ld. Vox.

do. But I know how to look a • way. just like fm

Bk. Vox.

Bk. Vox it.

E.Gtr.

Ld. Gtr.

Rhythm

Dr.

*P.M = Palm Mute 186

17 fpRrn

Ld. Vbx.

mg

mf mg AM

Bk. Vbx II.

my

E.Gtr.

Delay (Vol. Swell)

Ld. Gtr.

Rhythm

Dr.

21

Ld. Vbx.

Is what's be hind, our— eyes. and what be-tween

Bk. Vox. and

Bk. Vox II.

t's be hind_ our_ eyes.

E.Gtr.

Ld. Gtr. 187

Ld. Vox.

the to fVe_ gone blind

Bk.Vbx.

Bk. Vox il.

E.Gtr. mp

Ld. Gtr.

P M With Distortion FX

Rhythm

Dr.

29 Ld. Vox. J J. 7 j i / jj "-u look a.round and see how_ things not tow L would like

Bk. Vox.

Bk. Vox li.

E.Gtr.

Ld. Gtr.

Bass

J J J . J J J 1 Dr.

* S = Slide 188

Ld. Vox.

And t thai I cant

I cani man-y

Bk. Vbx II.

And I know I cant

E. Gtr.

Ld. Gtr.

Rhythm

Bass

Dr.

37

Ld. Vox.

For one more

Bk.Vox.

For one

Bk. Vbx II.

For one

E. Gtr.

Ld. Gtr.

Rhythm

Or. 189

•Vox With Chorus FX Ld. Vox.

And may - bo fm not w-

E. Gtr.

Ld. Gtr.

P.M With Distortion FX

Rhythm

"(Play All Down Strokes)

Dr.

45

Ld. Vox.

did And for

Bk. Vox.

Bk. Vox II.

E.Gtr.

Ld. Gtr.

Rhythm

Dr. I am search - ing Is ad be.

Bk. Vox.

Bk. Vox II.

E.Gtr.

Ld. Gtr.

Rhythm

Bass

Dr.

53

Ld. Vox. And what think is worth that i want

Bk. Vox.

Bk. Vox II.

E. Gtr.

Ld. Gtr.

Rhythm

B = Bend 191

57 ™

Bk. Vox II.

E.Gtr.

Ld. Gtr.

Bass

Dr.

f

61

Ld. Vox.

Bk. Vbx.

Bk. Vox II.

E.Gtr.

Ld. Gtr.

Rhythm

Dr. 192

mn

Ld. Vbx.

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Bk. Vox.

Bk. Vox II.

E.Gtr. mp

Ld. Gtr.

P.M With Distortion FX

Rhythm

mf JJJJ j j jT j j j j Dr.

69

Ld. Vox.

you're mind Still ! don't know what I'm going

Bk.Vbx.

Bk. Vox II.

E.Gtr.

Ld. Gtr.

Rhythm

Bass

Dr. 193

Ld. Vox.

I cant haip man-y

Bk. Vox.

man-y

Bk. Vox II.

And i know I can't hetp—. it man-y

E. Gtr.

Ld. Gtr. mf Claan Rhythm

Bass

Dr.

77

Ld. Vox. 90 with For one more night

Bk. Vox.

with For one more night

Bk. Vox II.

And 111 For one more

E. Gtr.

Ld. Gtr.

Rhytfwn

Bass

Dr.

ft 194

"Vox With Chorus FX

WeHmay - be it's not your and may-be rm not to Mama

P.M With Distortion FX

Rhythm

(Play All Down Strokes) JiJJJJiJ

For what I did to you And for what l had to say

Bk. Vox II

Rhythm

J J J J J J 44 iiiiJJ Ji 195

Ld. Vox.

search - ing for I* all that I want to be

Bk. Vox.

Bk. Vox II.

E. Gtr.

Ld. Gtr.

Rhythm

Ld. Vbx.

And what think is Is all that I

Bk. Vbx.

*Vbx With Delay FX

Bk. Vbx II.

E. Gtr.

Ld. Gtr.

Rhythm

Dr. m 196

lOUTROI

Ld. VOX.

What think is

Bk.Vbx.

is aN

Bk. Vbx il.

Be

E.Gtr.

Ld. Gtr.

Rhythm

Dr.

Ld. Vox. And what

Bk.Vbx.

8k. Vbx II.

Ba

E. Gtr.

Ld. Gtr.

iiii

Dr. 197

106 Ld. Vbx.

And

Bk. Vox.

Bk. Vox II.

E. Gtr.

Ld. Gtr.

Bass

Or. 109

Ld. Vbx.

And What

Bk.Vbx.

Bk. Vox II.

Iieve.

E. Gtr.

Ld. Gtr.

'Create Feeeback to Sustain Rhythm

Dr. 198

Ld. Vox. PP

PP

Bk. Vbx II.

E. Gtr.

Ld. Gtr.

lot Feed-Back Sustain Rhythm

Deens. PP

Bass

PP 199

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28

fir 201 202

Appendix I - Portfolio Tracks

Fate's Push - (Audio)

Ninjics Trailer - Promo Trailer (Video)

Underworld Theme - (Audio)

Ninjics Game Play #1 (Video)

Ninjics Game Play #2 (Video)

Escate - Short Animated Film (Video)

Vigil - Half Beat Mishap (Audio)

On a Train - Piano Trio (Audio)

Your Same Old Eyes - Piano Trio (Audio)

Hlavina Nadrezi - Piano Trio (Audio)

Firing Line - Alternative Rock (Audio)

Take Flight - Videogame Demo (Audio) 203

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