ENDER III

Music, travels, animals, strange phenomena...Its all here in one compact unit! Not unlike corned beef. Check out the soundcloud and facebook here!: https://www.facebook.com/EnderTheThird https://soundcloud.com/enderthethird

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https://soundcloud.com/enderthethird/ode-to-mordred

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https://soundcloud.com/enderthethird/drunken-whaler

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https://soundcloud.com/enderthethird/cooking-with-gas

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https://soundcloud.com/enderthethird/codex-astartes

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(via https://www.youtube.com/watch?v=YHQ9CkwZDUU)

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This piece uses the technique of illustrative cue to emphasise the actions on screen with musical and sound design cues. This technique stimulates audio visual synchronicity and can heighten the viewers engagement with the movie in question. 

I employed the technique of modal transposition in the “Japanese Koto” line. It starts of as a rising pentatonic scale in D major, then switches to the Phrygian mode to add a further element of dissonance and tension. 

I also made the Santoor line closely follow some of the more dramatic on screen illustrations, such as the dagger swipes. I also made these stabs dissonant to further emphasise the violent and eerie nature of the visuals. 

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This piece outlines the concept of a narrative cue. As mentioned in Ass.3.1 - The music can easily portray the intent or alignment of an on screen persona. Here we see the opposite side of the coin. The music is blatantly insinuating that the wolf character is now sinister and not to be trusted. 

This piece features rhythmic displacement on the lead melody. The santoor “stabs” have been off set by half a bar and lowered an octave to create a counter harmony with the original motif.  Furthermore, the melody, strings and choir all feature heavy use of dissonance and resolution, to emphasise the sinister or evil nature of the on screen visuals. 

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This piece demonstrates the technique of the narrative cue. It presents the viewer with the idea that the protagonists state of mind is pleasant and unchanging, while also insinuating the the environment around her is safe and welcoming.  Notice that even when the “evil” character of the wolf shows his face, the music makes it seem as though he is a friendly character, a woodland familiar escorting the protagonist. This effectively displays the concept of continuity in music affecting the viewers reactions to on screen stimuli. 

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Score and Sound Design Ass.2.3

In creating my motif I used six methods to alter the sound of the piece. After the original one bar motif, I proceeded to use the techniques.

Displacement: By changing the timing of the arrangement of the electric piano, in relation to a constant pulse (the lowest note of the motiv) several different variations could be employed.

Time Cycle: By first shortening the length of the notes in the motif, I was able to create a staccato feel which I enjoyed much more than the original piece. This also allowed me to add in a small bass melody while still keeping the piece monophonic. Then I tried elongating the notes, removing the bassline and making the piece legato.

Cannon: In this piece I took the staccato motif from the previous exercise, and loaded the notes into a bass guitar patch to better differentiate the two parts. I then displaced the bass notes by half a bar forwards, taking the wasted half bar at the end of the example and gluing it to the start of the piece. This creating a pleasant call and response motiv.

Inversion: This example followed the advice given on the class blog. I tried first using a strict inversion method by transposing the intervals in the opposite direction from the root note. I then tried doing the same thing put playing the notes in live, creating a more intuitive inversion. And lastly, I loaded the inverted bass notes into the second track to play in harmony with a third inversion.

Interval: For this method played with the concept of changing my interval spaces amongst the motif. At first I shortened them, then elongated them, and then tried using different intervals altogether, creating melodies with different feelings.

Transposition: For this final method I transposed my melody into several different pitches and modes. Following the techniques outlined on the blog to transpose and correct the midi data.

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Score and Sound Design Ass.2.2

For this piece I set out to create music for a possible action sequence. The piece features a heavy, driving bass line which presents the feeling of momentum or buildup. I was imagining this piece set to a car chase. The piece features heavy use of dissonance and resolution within the synth pads. The dissonance acts as a narrative cue and a counterpoint to the simple bass and melody. 

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Score and Sound Design Ass.2.1

(Chords used in dissonant composition)

Dmin

Dsus4

Dsus2

Amin

Dno3 b6

Fm6

D5

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Sound design task for school! Enjoy.

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Episode 3 of Parkville podcast has arrived! This week, we tackle some of the big issues facing our generation and talk to Canberra based film director Declan Chrubb. http://www.matesvszombies.com/ https://www.facebook.com/EnderTheThird

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"Discover the significance of crimson nirnroot" #giants-toe #bloodgrass #alchemy #nirnroot #skyrim #nuclearcrab