MUSIC SCORING PROJECTS

Scoring films and concert music is exhilarating...this blog offers a glimpse into that world - the extensive research, the development of ideas, the live recording dates, the engaging collaborations and the finished scores and soundtracks...let the music begin.

Sunday, May 10, 2009

Scoring "Southwest of Here"

Australia. 1890s. The High Country, Victoria.

This is the world of Southwest of Here.
The story follows two men - Edward and Bill - as they make their way across the open country to exact revenge on an unsuspecting man. It explores the contrasting nature of the human psyche.
The main role of Southwest of Here's score is to capture this unique time and location - it is set in harsh isolation, "looking out from the mountain top, smoke in the distance..." It is a vast landscape.


The characters are originally from Ireland, so this carries a reference in the sound, but cautiously, because this place is unlike the rolling lush greens of Ireland - it a place that is rougher - somewhat desperate yet open - harsh and unforgiving.


I recorded with Chris Bleth and his brilliant set of whistles. (Bleth plays Duduk on Sci Fi's Battlestar Galactica, and did that beautiful solo on Narnia: The Lion The Witch and the Wardrobe - "A Narnia Lullaby" by Gregson-Williams - definitely worth checking out).

We chose a low pitched whistle to avoid that shiny bright timbre whistle is usually known for, and at the same time, we created a sound world of openness and vulnerability in tone with breath control that the whistle allows. We approached the music with less ornamentation and decoration, but with enough rubato to form our desired musical shape.

Here is the main theme:



Along with whistle, there are moments of Celtic harp, dulcimer, grand piano and acoustic guitar, but used in a non-traditional sense to support the drama, to enrich the soundscape and create a balanced ensemble across the frequency range, so we could achieve a full sound palette when needed. The mid and high ranges are layered with ppp non-vibrato strings.


We are currently mixing, which has been critical in capturing and evoking this vast location, taking particular care in crafting the music's placement and space. We'll update here soon with a sneak peak of the score which we'll post at the new webportal at www.leahcurtis.net.

Saturday, April 4, 2009

blog.leahcurtis.com word cloud...

Saturday, August 2, 2008

Clash Magazine: Frame by Frame: The Score: Composers

Journalist Kingsley Marshall interviewed me this last week for an article Frame by Frame: The Score: Composers for an upcoming edition of UK's Clash Magazine. He also spoke with Lalo Schifrin, Craig Armstrong, John Cameron, and David Shire on the process of scoring cinema and the freedoms and creative opportunities availed to us in the medium.

It was nice to be included in this diverse group (with more than a few Oscars between them!)

http://www.clashmusic.com/

Thursday, June 26, 2008

Scoring Disarmed

2 weeks, 1 romantic comedy, 1 score to compose, 11 cues

This is a unique one - a fun story, with James Kyson Lee from NBC's Heroes, shot by Robert Brinkman (U2's Rattle and Hum), directed, produced and written by Justin Dittrich, Melanie Blair and Shashwata Chatterjee.
Disarmed tells the story of two roommates Spencer and Kevin who try and pull the ultimate heist of mistaken identity. Kevin falls in love with Sandra, a beautiful girl who thinks Kevin has no arms - can Spencer help him keep up the act without blowing his cover?
On exploring the comedy's emotional subtext, the journey needed to push the viewer through the different stages of the film, and the music needed to commit to each emotion, not comment on it, for it to be believable and for the audience to take the ride confidently.

Score Influences
The week before scoring the film I saw Herb Alpert play at Anthology. Herb, nicely hinting at his Tijuana Brass Days, but in his matured classy jazz sultriness, reminded me of some terrific 60s scores. Jazz scores of the likes of Mancini, and sounds worlds like those that dominate the Bond scores. The journey of the film reminded me a little of Sideways in its size (small world of the characters, small score), and the range of emotions reminded me of tango music, and the incredible array of emotions that I've learnt that can be expressed there. The love scene in the film led me to the bossa nova.




The music of Brazilian Bebel Gilberto (daughter of João Gilberto) was not far from my mind either...


So having a small score, and drawing from (and in creating) diverse musical traditions under the one score - (waltz, bossa nova, jazz etc) the ensemble comprised the following...

Instrumentation
Alto flute
Piano
Cello (also functioning as bass)
Argentine Accordion
Clarinet
Percussion
Acoustic Guitar

This allowed me to explore tango style ensemble playing (accordion, clarinet, cello, drums) and more sultry jazz, and bossa nova (alto flute, acoustic guitar, piano, cello).


Thursday, May 8, 2008

Enter the Core: SciFi

By The Aspen Festival Orchestra.

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