ENDER III

This piece uses the technique of illustrative cue to emphasise the actions on screen with musical and sound design cues. This technique stimulates audio visual synchronicity and can heighten the viewers engagement with the movie in question. 

I employed the technique of modal transposition in the “Japanese Koto” line. It starts of as a rising pentatonic scale in D major, then switches to the Phrygian mode to add a further element of dissonance and tension. 

This piece outlines the concept of a narrative cue. As mentioned in Ass.3.1 - The music can easily portray the intent or alignment of an on screen persona. Here we see the opposite side of the coin. The music is blatantly insinuating that the wolf character is now sinister and not to be trusted. 

Score and Sound Design Ass.2.3

In creating my motif I used six methods to alter the sound of the piece. After the original one bar motif, I proceeded to use the techniques.

Displacement: By changing the timing of the arrangement of the electric piano, in relation to a constant pulse (the lowest note of the motiv) several different variations could be employed.

Time Cycle: By first shortening the length of the notes in the motif, I was able to create a staccato feel which I enjoyed much more than the original piece. This also allowed me to add in a small bass melody while still keeping the piece monophonic. Then I tried elongating the notes, removing the bassline and making the piece legato.

Cannon: In this piece I took the staccato motif from the previous exercise, and loaded the notes into a bass guitar patch to better differentiate the two parts. I then displaced the bass notes by half a bar forwards, taking the wasted half bar at the end of the example and gluing it to the start of the piece. This creating a pleasant call and response motiv.

Inversion: This example followed the advice given on the class blog. I tried first using a strict inversion method by transposing the intervals in the opposite direction from the root note. I then tried doing the same thing put playing the notes in live, creating a more intuitive inversion. And lastly, I loaded the inverted bass notes into the second track to play in harmony with a third inversion.

Interval: For this method played with the concept of changing my interval spaces amongst the motif. At first I shortened them, then elongated them, and then tried using different intervals altogether, creating melodies with different feelings.

Score and Sound Design Ass.2.2

Score and Sound Design Ass.2.1

(Chords used in dissonant composition)

Dmin

Dsus4

Dsus2

Amin

Dno3 b6

Fm6