Steven Moffat puts a childish take on our fears--so of course his first example of a police state is primary school grading! The immediate followup makes clear the seriousness of this--with children alone. The scene is scored not with just one but two terrifying music cues. Obviously, once a heavy, low 10/8 vamp starts, nothing good is going to come of that elevator trip! And so the result is a trip "below" for Timmy--to a staccato choral section in 3-3-2, followed by high flute/trumpet flourishes.
But the mood spins gently away immediately after the credits--to a return of variations on Amy's theme. The lovely voice of Yamit Mamo provides as much of the 'floating' sensation for Amy's introduction to space as do the special effects crew.
This episode interweaves the solving of the first scene's mystery--and Amy's first journey as a companion. The story and the score reflect the dynamic between these processes. There are tinkly 'magical' cues of wonder, and brooding cues of secrets--like the "impossible truth" of Starship UK (expressed by Liz 10 with a low reed melody).
The new sound library is already getting some mileage. As I said, Amy's theme came in early, but in one of my favorite ever repeat usages, the Doctor's new action theme plays while... well... while the Doctor and Amy are humbled by nature in such a ridiculous way as to remind us Americans why we used to describe Doctor Who to the uninitiated as "Star Trek as done by Monty Python."
There is naturally a surfeit of tense music in this episode. Threats and mysteries. But then... at the climax, there is a ‘bookending’ of string adagio cues. On the first side--there is the denouement of the starship's secret, the society's terrible choices. The music is a set of slow string variations in D minor, with high octave notes of pathos, but no resolution--only regrets and a return to the start of the melody. On the other side--as Amy explains the secret of the star whale--the other string adagio begins. Modulated to (I believe the relative) major, and then rising upwards with the simple epiphany of understanding, it finally resolves into a gentle downwards progression (before the next storyline intrudes)...
Those paired string cues frame the core moment of the story--from what the society's choices and actions did to its victims, to the internal change of heart, and of understanding, needed to escape from reliving that choice over and over again. So... the music cues are doing more than signifying characters, or specific idea lines. Here they're signposting the plot's complexity of ideas and social morality. It's very subtle and well suited to Amy; string lines instead of orchestral flourishes. But it's there as melodic scaffolding for the plot and the scene, in the structure as well as the tunes. And not bad showing what you can do with a couple of quiet string cues.
Tuesday, April 27, 2010
Saturday, April 10, 2010
Eleventh Hour
Some viewers were expecting a completely new tone (literally!) to Steven Moffat's vision of Doctor Who. But the first episode of his "dark fairytale" is not exactly struggling against Russell Davies' legacy. We did not get a 'hint' of stylistic continuity—we got it full, boldly, in our eyes and ears, the very first minute of Series 5. The TARDIS insanely swooping over London to mad orchestration—yes, this is still new Who. It is Saturday night, and somehow this little antique British program dares to be bigger, more exciting, and innovative than any first-run movie, any bleak but trendy adult television serial. It’s Doctor Who. And fortunately Murray Gold is still scoring it.
Below I will focus on the two fundamental musical themes introduced in the first episode of Series 5 (and I will regretfully skip the multitude of other new cues in the episode). Murray Gold continues to use a style of thematic (character) cues as in previous series, but... the comparisons are scant, because his scoring style has again evolved. The themes, at least, are now more complex than ever!
Once upon a time, back before Series 3 was broadcast, the ad-makers on the DW production team grabbed a tune from that series’ episode Gridlock and set it over a pre-series trailer. The result was that "All the Strange Strange Creatures" became an instant anthemic action tune before it ever appeared in the show. The 'equivalent' theme, dare I say, is the new Doctor's action theme (as yet unnamed), again presented in a pre-series trailer.
This tune is enormously complex, even on its first outing. It has a main and secondary vamp (as did "Strange Strange Creatures"). Those are in the tune's core time signature of 7/8. (The musical time is divided into a 2-2-3 rhythm common in the Balkans.) There are of course several melodies played over these vamps, presented in variations of instrumentation. A few bridges between the sections. And just to mix it up, there is a 4/4 beat section in some uses of the cue, featuring its own distinct vamp!
So, rhythmically it is as complex as the full "Cybermen" theme of Series 2 (which was in 10/8 as well as 4/4), and the melodic and supporting lines are as varied as those in "All the Strange Strange Creatures" (possibly including "Futurekind" in that familial definition), and yet... Despite the full orchestra and chorus, fanfares and drum vamps, electric guitars and Hammond organs—this action theme is a bit lighter and nimbler than those just mentioned. It gallops but it does not stomp. It has an amazing deftness. Plus, despite its complexity and fluidity, be warned: this tune is just as much of an incorrigible earworm as "Strange Strange Creatures." As an amateur musician of Balkan folk tunes, I am personally gratified that so many Anglo-culture viewers will now have an easy aural reference to one of my favorite beats, stuck right into their heads along with the episode and this series.
Amy's theme is also complex, but in an entirely different way. There are two scenes in this episode that both in the story and the music evoke the 'left behind' sense of Girl in the Fireplace—but the comparison clearly shows that the scoring has grown by leaps and bounds in those 3 years. The prior work had variations of the lovely theme for Reinette. But Amy has an entire suite of a theme. There is a core cue for Amy; it is almost unmetered at its start, wandering around with a gentle vocal. It seems to feature over scenes of her relationships. But that cue is far from alone. Other cues featuring piano runs mixed in with strings or vocals seem to express Amy’s sense of childhood, its loss, or even a magical escape back to it. Some sections seem to even signpost her relationship to the TARDIS and the Doctor's exits from her life—though we’ll have to see whether that interpretation holds in future episodes. The theme, as a collection of cues, somehow work together to bring an emotive content, though the connections between the different melodies and musical expression are extremely difficult to nail down. It all just somehow... says Amy.
These multi-faceted themes are not just first dabblings into cues; they're fully-grown from the start, as if sprung from Zeus' head... Which is a good thing considering that they've taken a fair bit of time in the episode; the new action theme is heard for 6-1/2 minutes (not including the end trailer), and Amy's theme (in its various sections and forms) plays for about 9-1/2 minutes. Naturally, I'm predicting that there will be more variations and extensions of these themes. And, specifically because it's so poignant, that we won't hear quite as much of Amy's theme except where there's a need to establish new aspects of her character and background.
To roll out the two new character themes in what appears to be fully dressed form is a bold move for the first episode. It roots the characters—but musically, where do you go from here? I'm looking forward to finding that out over the rest of this series.
Below I will focus on the two fundamental musical themes introduced in the first episode of Series 5 (and I will regretfully skip the multitude of other new cues in the episode). Murray Gold continues to use a style of thematic (character) cues as in previous series, but... the comparisons are scant, because his scoring style has again evolved. The themes, at least, are now more complex than ever!
Once upon a time, back before Series 3 was broadcast, the ad-makers on the DW production team grabbed a tune from that series’ episode Gridlock and set it over a pre-series trailer. The result was that "All the Strange Strange Creatures" became an instant anthemic action tune before it ever appeared in the show. The 'equivalent' theme, dare I say, is the new Doctor's action theme (as yet unnamed), again presented in a pre-series trailer.
This tune is enormously complex, even on its first outing. It has a main and secondary vamp (as did "Strange Strange Creatures"). Those are in the tune's core time signature of 7/8. (The musical time is divided into a 2-2-3 rhythm common in the Balkans.) There are of course several melodies played over these vamps, presented in variations of instrumentation. A few bridges between the sections. And just to mix it up, there is a 4/4 beat section in some uses of the cue, featuring its own distinct vamp!
So, rhythmically it is as complex as the full "Cybermen" theme of Series 2 (which was in 10/8 as well as 4/4), and the melodic and supporting lines are as varied as those in "All the Strange Strange Creatures" (possibly including "Futurekind" in that familial definition), and yet... Despite the full orchestra and chorus, fanfares and drum vamps, electric guitars and Hammond organs—this action theme is a bit lighter and nimbler than those just mentioned. It gallops but it does not stomp. It has an amazing deftness. Plus, despite its complexity and fluidity, be warned: this tune is just as much of an incorrigible earworm as "Strange Strange Creatures." As an amateur musician of Balkan folk tunes, I am personally gratified that so many Anglo-culture viewers will now have an easy aural reference to one of my favorite beats, stuck right into their heads along with the episode and this series.
Amy's theme is also complex, but in an entirely different way. There are two scenes in this episode that both in the story and the music evoke the 'left behind' sense of Girl in the Fireplace—but the comparison clearly shows that the scoring has grown by leaps and bounds in those 3 years. The prior work had variations of the lovely theme for Reinette. But Amy has an entire suite of a theme. There is a core cue for Amy; it is almost unmetered at its start, wandering around with a gentle vocal. It seems to feature over scenes of her relationships. But that cue is far from alone. Other cues featuring piano runs mixed in with strings or vocals seem to express Amy’s sense of childhood, its loss, or even a magical escape back to it. Some sections seem to even signpost her relationship to the TARDIS and the Doctor's exits from her life—though we’ll have to see whether that interpretation holds in future episodes. The theme, as a collection of cues, somehow work together to bring an emotive content, though the connections between the different melodies and musical expression are extremely difficult to nail down. It all just somehow... says Amy.
These multi-faceted themes are not just first dabblings into cues; they're fully-grown from the start, as if sprung from Zeus' head... Which is a good thing considering that they've taken a fair bit of time in the episode; the new action theme is heard for 6-1/2 minutes (not including the end trailer), and Amy's theme (in its various sections and forms) plays for about 9-1/2 minutes. Naturally, I'm predicting that there will be more variations and extensions of these themes. And, specifically because it's so poignant, that we won't hear quite as much of Amy's theme except where there's a need to establish new aspects of her character and background.
To roll out the two new character themes in what appears to be fully dressed form is a bold move for the first episode. It roots the characters—but musically, where do you go from here? I'm looking forward to finding that out over the rest of this series.
Wednesday, April 7, 2010
Series 5 Doctor Who (TV) Theme
The first few measures of the 2010 (Series 5) Doctor Who theme were enough to make my jaw drop. Wait--that's... not the first 8 bars per Ron Grainer and Delia Derbyshire! It's got another minor 3rd and... and...
Pwnage!--as the kids say.
I cannot imagine another television theme tune as passionately discussed as the Who theme. Though I've not entered that discussion before now. And on a certain level, Murray Gold's 2005-2009 arrangements were so incremental and "evolutionary" that internet arguments over his choice of instrumentation and effects were, honestly, inflated.
Not so much this time. Yes, I recall the new ground broken by the Debney theme arrangement for the 1996 movie, when the order of the sections of the tune was reversed. That version had a robust orchestral arrangement, a natural change after years of thin, underpowered electronic scores. (Not criticizing electronic scores, mind--just some of their 1980s expressions.) And finally, about 2/3 of the way in, the Debney theme finally got a good percussion swing beat going...
This new Gold theme (the "full" version at about 1:01) has a new intro. Cranking up with a chopped, rasping intro scream. As noted above, walking up a melodic progression that was never part of the classic intro. Then a second, high electronic scream. As it shifts into the regular, recognizable tune with Murray's more ordinary mix of rock and orchestral instrumentation, we're tempted to relax.
But then--vocals! in the theme!--for the first time ever. A third scream before the middle eight. A frequently rambunctious driving rhythm--along with a low-pitched element (if you've got the speakers to hear it). A cloister bell ding near the middle of the track.
By that point, during my first listen, I was giggling uncontrollably--thinking of the certain havoc resulting within online fan forums. But well, to think about it--some of the more reasoned criticisms of Murray Gold's previous theme arrangements seem to have implied that he either has been too cautious about the theme modifications (beyond setting it in a primarily orchestral arrangement) or that he has tended to simply 'add' elements along the way, making the resulting mix so full as to risk some of its focus.
This is... not just a tweak to the theme. It is bodacious. He has made this mark on this piece. The first bars shake you, make you sit up and notice that it's not 1963 any more. And that it is Doctor Who, so pay attention!
The drums (which were certainly prominent since Voyage of the Damned, but sometimes bordering on unvarying) seem to have become more crisp, especially in the ra-ta-ta-TA-TA-TA preceding the last run-through of the main version (about 00:44-47). The orchestra is still in there, but in more precise blasts and bowings. The first "oo-ee-oo" is... more audible than it's been for a while.
I can understand one criticism--that the driving electric guitar sound of the introduction is partly overwhelmed by a really lusty brass section. (You can hear the guitar a bit better later in the piece, after the vocals.) But on the other hand, I for one am grateful that the full Howell-esque spangles (pretty audible in the 2008 Proms version) are not in there.
The new theme is a refreshing element marking the new production of the show. It's also a lot of fun. Try listening a few times with the speakers pretty loud, or with a pair of decent headphones. Give it some time to grow on you.
Pwnage!--as the kids say.
I cannot imagine another television theme tune as passionately discussed as the Who theme. Though I've not entered that discussion before now. And on a certain level, Murray Gold's 2005-2009 arrangements were so incremental and "evolutionary" that internet arguments over his choice of instrumentation and effects were, honestly, inflated.
Not so much this time. Yes, I recall the new ground broken by the Debney theme arrangement for the 1996 movie, when the order of the sections of the tune was reversed. That version had a robust orchestral arrangement, a natural change after years of thin, underpowered electronic scores. (Not criticizing electronic scores, mind--just some of their 1980s expressions.) And finally, about 2/3 of the way in, the Debney theme finally got a good percussion swing beat going...
This new Gold theme (the "full" version at about 1:01) has a new intro. Cranking up with a chopped, rasping intro scream. As noted above, walking up a melodic progression that was never part of the classic intro. Then a second, high electronic scream. As it shifts into the regular, recognizable tune with Murray's more ordinary mix of rock and orchestral instrumentation, we're tempted to relax.
But then--vocals! in the theme!--for the first time ever. A third scream before the middle eight. A frequently rambunctious driving rhythm--along with a low-pitched element (if you've got the speakers to hear it). A cloister bell ding near the middle of the track.
By that point, during my first listen, I was giggling uncontrollably--thinking of the certain havoc resulting within online fan forums. But well, to think about it--some of the more reasoned criticisms of Murray Gold's previous theme arrangements seem to have implied that he either has been too cautious about the theme modifications (beyond setting it in a primarily orchestral arrangement) or that he has tended to simply 'add' elements along the way, making the resulting mix so full as to risk some of its focus.
This is... not just a tweak to the theme. It is bodacious. He has made this mark on this piece. The first bars shake you, make you sit up and notice that it's not 1963 any more. And that it is Doctor Who, so pay attention!
The drums (which were certainly prominent since Voyage of the Damned, but sometimes bordering on unvarying) seem to have become more crisp, especially in the ra-ta-ta-TA-TA-TA preceding the last run-through of the main version (about 00:44-47). The orchestra is still in there, but in more precise blasts and bowings. The first "oo-ee-oo" is... more audible than it's been for a while.
I can understand one criticism--that the driving electric guitar sound of the introduction is partly overwhelmed by a really lusty brass section. (You can hear the guitar a bit better later in the piece, after the vocals.) But on the other hand, I for one am grateful that the full Howell-esque spangles (pretty audible in the 2008 Proms version) are not in there.
The new theme is a refreshing element marking the new production of the show. It's also a lot of fun. Try listening a few times with the speakers pretty loud, or with a pair of decent headphones. Give it some time to grow on you.
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