These next two tracks were from my Berklee Online Summer Semester, Week 11.
Haunted Spaceship was the assignment in Synthesis, Sampling, and Sound Design in Film Scoring to “create a one-minute evolving ambient soundscape using granular synthesis and ring modulation … use any of the devices, processes, and/or techniques from this lesson that interest you most in your soundscape.” I used Logic’s Flex Time to slow two drum loops down to 5 BpM. I staggered them and then panned them on either side and added a little Ringshifter which gave them a buzzing quality. My center line is from Alchemy with two simple lines moving back and forth chromatically. I used automation to control the size, density, num taps, and tap spacing to gradually go from all the way up to all the way down so that the sound gradually degrades throughout the piece. I also added Ringshifter to this line to give it extra bite.
Medieval Scenario was the assignment in Stylistic Adaptations in Film Scoring to “Adapt the … Kyrie VIII from Mass VIII, Gregorian Chant (Brébeuf Hymnal) … and create a cue to the scenario given … create your own variation of the chant melody by extracting a phrase or by doing your own melodic variation and developing that … the resulting music should have a contemporary sound, but incorporate some element of the musical styles of the late Middle Ages or Renaissance … the ensemble should have a large, big-budget sound, and must use some element or elements of Medieval music.” I wanted the opening to be pretty big and mostly high, since it’s an aerial scenery shot. Throughout the cue I used mostly open perfect 4ths and 5ths with an occasional triad (especially at a half cadence). For the travelers I used timpani quarter notes to represent them walking, a men’s choir (three part harmony) for the three monks, a men’s choir melody for the lead monk, one of each woodwind for the family, and harp playing arpeggios for the jongleur (I used harp instead of lute or guitar because I figured they might get buried in all the orchestration). At this point they are tired and possibly starting to give up hope that they will ever find their destination so I used the relative minor. When they see the spire I went full tutti with the orchestration (including chimes for church bells) and returned to the relative major because their hope is renewed. The music dissolves and becomes more peaceful as they arrive at their destination. I used the three-part male voices singing reverently as the monks walk down the main aisle in the cathedral.
0:00: MX IN on an establishing aerial shot of the moors in central England. It is the fifteenth century. The camera pans down to a dirt track and at…
0:17: we see a handful of travelers. It is a diverse group of people walking behind a cart pulled by two oxen with a horseman guarding the rear. As we get closer, we see the group is led by a monk with a shaved head. There is a family of parents and two small children, a jongleur carrying a stringed instrument, and three more monks.
0:31: they come over a rise and in the distance we see the spire of a large cathedral, indicating their destination.
0:40: cut to the group arriving at the gates of the walled city
0:47: cut to the monks entering the cathedral, walking down the main aisle and kneeling at the altar.
1:03: MX OUT at as they pray.