Entry 9.

Onto the next part…Because I haven’t got the guts yet to start composing a new score for Lord of the Rings: The Two Towers yet, I’ve decided to continue on rather than going back to the beginning and composing from there. The Breakfast at Tiffany’s piece is the second, preceded by the LOTR, and followed by a clip from the cult film, Reservoir Dogs. For this, I’ve decided to use a compilation of videos chronicling the adventures of Mr. Pink in the film, though I was seriously tempted to do the scene in which Mr. White dances around a bound victim with a tank of gasoline…Watch the movie, seriously. You’ll understand why I was so tempted to write for that scene.

The music for this clip will be atonal. Yaaaay! For the most part, anyway. The cliché here will be jazz…Though jazz has a tendency to have a freer range of sonorities, I’m cutting everything loose and the bass line, which will mostly be in the left hand of the piano (which may switch to right hand piano and violin later on for more funkiness) allowing the cello to do a bit of bass too while the right hand in the piano and the violin jazz it up.

I wasn’t planning on getting much of this done to show in class on Friday the 31st, but since the power’s out in my residence and even the emergency lights have worn out (the power was out earlier today as well) my computer screen is my light source, and since I’m not keen on going to sleep anytime soon, it’s composition time.

It’s funny how easy it is to go back to writing atonal music, after doing the first section based on a tonal melody. I always thought it would be so much harder composing atonal music, but without all the rules that go along with tonal music and the need to write something that will be accepted by the general public, it’s so much easier. It’s so much easier not to worry about what your audience will think, as opposed to tonal music, which I now find much harder.

Annnd cue power. Excellent. Now I don’t have to worry about my computer running out of batteries in the middle of a compositional rant.

I’ve gone back and added a bit more funkiness into the romantic part of my piece….Instead of letting it resolve where it should, I decided it’d be nice to play a trick on the listener and say ‘ha ha, too bad,’ and put in a fairly discordant chord where a nice resolution should be. This way people get the point that it’s both romantic music, and a parody of that very cliché.

Back to part 2…Part 3, really, after I compose the first part- action. So I’m working on music for a cult film right now, beginning with a kind of jazzy motif which is completely atonal, though I haven’t done too much with the rhythm…It’s definitely something to consider when I go through and edit, though right now I’d like to have at least something to lean on, when I can’t lean on the tonality. Because I don’t really want this part of the piece to go where people think it will go, I’m having it trail back into tonality fairly early in the piece- this segment probably won’t be very long- and switch characters almost completely, to be something which is much more action packed rather than jazzy. I’m keeping in mind that the clip going with this part of the piece has guns in it, so I might throw a few musical sound effects in just for kicks. For the latter half of this section I’ve put a good amount of random warbling in the cello and left hand of the piano just to add a bit of tension, over which the violin has a melody which is in a different key than the rest, which seems to be centered around the note B. Every once in a while it touches base with a B, and ends with a good, climactic ending, just as this section of the piece finishes.

And bonus! I have both power AND printer ink!