Re: the current state of soundtracks/scoring. There seem to be two major camps in scoring: those who use melody/counterpoint as the foundation of the score, and those who use harmony/dissonance as the foundation of the score.
I've always admired composers who favor strong melodies (John Williams [though his atonal moments can be brilliant], you, recently Ramin Djawadi), and have been somewhat disappointed by the sort of drone-y texture/drum-heavy pieces that feature in many modern big budget blockbusters (I immediately think of Hans Zimmer, though I acknowledge he's a master of synthesis and a brilliant musician).
I find myself more emotionally connected to themes with a clear melody, and I find melody is tremendously important to story/character development.
While I acknowledge that this is a subjective matter, I'd like to hear what you think of the role melody plays in scoring vs. harmony/clustered texture?
wtucker7 karma
Hi Marty!
Re: the current state of soundtracks/scoring. There seem to be two major camps in scoring: those who use melody/counterpoint as the foundation of the score, and those who use harmony/dissonance as the foundation of the score.
I've always admired composers who favor strong melodies (John Williams [though his atonal moments can be brilliant], you, recently Ramin Djawadi), and have been somewhat disappointed by the sort of drone-y texture/drum-heavy pieces that feature in many modern big budget blockbusters (I immediately think of Hans Zimmer, though I acknowledge he's a master of synthesis and a brilliant musician).
I find myself more emotionally connected to themes with a clear melody, and I find melody is tremendously important to story/character development.
While I acknowledge that this is a subjective matter, I'd like to hear what you think of the role melody plays in scoring vs. harmony/clustered texture?
View HistoryShare Link