Danny and the Wild Bunch
Musical concept: Tracking the degradation of the character Danny through music.
Vienna Symphonic Library and BBC Symphony Orchestra are two VSTs that were used to create this orchestral mockup.
Description:
I structured this piece into 3 main sections:
Part A (bathroom scene)
At the beginning of the cue I intended to create tension using the pendulum between E and F#, which materialises into the A minor scale at the end of the part. The syntax I used here for more ambiguity is a predominant texture, as for timbre I chose a composite one. Also, in order to describe better the unstable character of the moment, I chose to use an odd measure (7/4), especially for the bass line. The vibraphone, celesta and horns appear to accentuate the changes that are happening to Danny. At the end of the cue I created an orchestral crescendo for more dramatic impact, and also introduced a brass for the same reason.
Part B
The B cue is structured into 2 parts: the conversation with Danny, and the moment when the characters jump on the writer. When writing the first part, I was inspired by the tension in Wagners’s ‘Tristan and Isolde’ Prelude, but without using the Tristan’s Chord. I started this part by overlapping two minor sevenths, which resolves to a progression of parallel augmented chords. In the second part of this cue I wanted to create action music without using cliché structures - using a lot of percussion and brass themes. For this reason I started to research what makes music sound “action-like”, and I realised that the emphasis in that music lays in the rhythmic structure. After many trials, I opted for using an isochronic rhythm which I think is both dramatic and action-inducing.
The B cue is structured into 2 parts: the conversation with Danny, and the moment when the characters jump on the writer. When writing the first part, I was inspired by the tension in Wagners’s ‘Tristan and Isolde’ Prelude, but without using the Tristan’s Chord. I started this part by overlapping two minor sevenths, which resolves to a progression of parallel augmented chords. In the second part of this cue I wanted to create action music without using cliché structures - using a lot of percussion and brass themes. For this reason I started to research what makes music sound “action-like”, and I realised that the emphasis in that music lays in the rhythmic structure. After many trials, I opted for using an isochronic rhythm which I think is both dramatic and action-inducing.
Part C
To create more suspense I opted to keep silence between the end of part B and this one. I chose the style of classical era waltz (the writing for piano beginners and the tonal spectrum of harmony) and the sound of celesta to express playfulness.
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