Scoring a dancing leaf video

A few years ago, I was searching YouTube for a video to practise scoring music to. In particular, I was looking for expressive visual movements that could translate into music, a little bit like a dancer might move spontaneously to music, but the other way round.

This connection across the modes is at the heart of how non-verbal interactions between a mother (or primary care-giver) and child might occur, for example, in the way a baby’s excited arm waving might be matched in the mother’s excited tone of voice. These sorts of connections move me, it feels very human, recognising expressive connections across the modes.

The video I eventually found was called ‘Dancing leaf in the autumn forest’ and was posted back in 2014. And there’s a story behind it being filmed….but first the video.

It has a perfect set of random and natural movements; sometimes the leaf is gently swaying in the breeze, suspended presumably on a strand of spider’s web. Sometimes the breeze causes the leaf to appear to dance, sometimes the twirling and spinning speeds up, then it slows down again and starts gently rocking.

From an emotional point of view, it also carries a certain sadness to it: the leaf looks fragile, it’s a brown, dead, autumn leaf, in a damp looking forest, caught on a strand of spider’s silk….dancing alone.

I scored the music by watching it a few times, then improvising at the piano, in one take, as I watched it on screen, and responded to what I saw. Then I added some strings and woodwind (I’m a flute-player). The resulting music received, for me, the highest accolade I can get – a group of professional and student composers (on the ThinkSpace course in Chichester) said it made them want to cry. (Yes! This is my life’s ambition – to make people cry).

But the fact is, it’s a gorgeous video. Beautifully framed, filmed by someone who obviously has an an eye for the artistry of what they were witnessing. Which is why it came as no surprise that when I approached “GullwingPhoto” (who posted this video) to ask for permission to post it here, I discovered that he is a professional photographer who specialises in photographing musicians!

http://www.gullwingphotography.co.uk/music/

Guy Carpenter, the photographer, remembers filming it, saying “I…just shot with my phone while out on a run in the woods, years ago! It was rather a beautiful sight though, spinning away”.

Thank you, Guy. So inspiring!

Using unusual sounds to create music

Lots of composers are at it! Taking the audio files of unusual sounds and manipulating and processing them (using computer software) to produce new and distinctively different-sounding music.

I first became aware of this as a digital composing technique in the songs of Imogen Heap (in her album ‘Sparks’). For example, in the track ‘Telemiscommunications‘, we hear a series of pops, pings and clicks which are structured by some beautiful piano chords and evolving drones. In ‘The Listening Chair‘, all the sounds come from her voice, from which she creates rhythms, pitch slides, reversed sounds and echo effects. In the track ‘Lifeline‘ she invited fans to send her audio clips to incorporate, and includes the heartbeat of a baby in the womb and a slinky going down some stairs.

Composer Hildur Guðnadóttir created the entire score for the HBO mini-series ‘Chernobyl’ [1] by using the sounds she and her team recorded in a power plant in Lithuania. In it we hear highly processed sounds that contain both rhythm and pitch.

‘Planet Earth II’ composers Jasha Klebe and Jacob Shea had access to the natural sounds that the directors had been recording in the wild, incorporating them into the score in a way that ‘blurred the lines between what were natural sounds and what was music’ [2]. Wind sounds from the tops of mountain were shaped into pitches and incorporated into the score for the ‘Mountains’ episode, rustling grass from was turned into a percussion instrument for the ‘Grasslands’, and the sound of swarming locusts made it into the score for ‘Deserts’.

Christian Henson shows how to process the sound of rain to create pitched, fantastic ethereal sounds. [3]

I wanted a go: so I took, as my source audio, the clacketty sound you get when slamming fingers down on the flute (without blowing).

I then copied it twice, to create three tracks, and put different effects on each track: such as EQ, compression, pitch shift, tremolo, stereo delay, and distortion (guitar amp), later adding reversed celesta, with tremolo and high pass filter to capture the ticking sound (I’m using Logic Pro X).

Digital Audio Workstations – fun toys to play with!