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Sci-fi ... and Elves?
Well it's been a while since I wrote anything about composition techniques and I thought it was time to post a new blog.
Anyone who reads a lot of these blogs will be aware that one of the main things I've always loved about film music is the specific harmonic devices employed. To date I've already covered chromatic mediants, tritones, bitonality and planing.
In this blog I want to briefly discuss a fairly simple device which is exceptionally effective for giving a sense of otherworldliness. I'm going to look at the device itself, give examples of its usage and then discuss ways of using it and taking it further.
First, let's take a look at the device itself. This revolutionary device is ... a major triad with an added b6. Yup, that's it! If you want to try it out then play a C add b6 chord (C E G Ab). You should be able to hear the effect quite immediately. If that doesn't convince you then trying playing it as arpeggios and you should hear it.
In terms of usage, I'll give three fairly solid examples:
James Horner - Star Trek II The Wrath of Khan ... Check out the opening and main theme, you should hear arpeggios playing these add b6 sounds.
John Williams - Star Wars A New Hope ... A brief but important statement just after the main theme. A Caddb6 chord is played on woodwind and vibraphones while a melody is played on the piccolo. Although this only lasts a few seconds (around 1:24 on the soundtrack) it really does help to set the scene.
Howard Shore - The Fellowship of the Ring ... Ok, so here's the answer to the riddle in my title. In this score, Shore uses the device to add an air of mystery and otherworldliness to Rivendell. The device is played as arpeggios this time.
So hopefully these examples have convinced you that this device works. In fact I'm sure the good people of this forum will be able to furnish me with a myriad of better examples.
Ok, let's try and do some analysis. I'm sure most people have realised that the chord cannot be derived from the major scale or its modes. It can be derived from the following scales: -
Phrygian Dominant, the 5th mode of the harmonic minor spelt 1 b2 3 4 5 b6 b7 (eg C Db E F G Ab Bb).
Mixolyidan b6, the 5th mode of the melodic minor spelt 1 2 3 4 5 b6 b7 (C D E F G Ab Bb)
Harmonic major spelt 1 2 3 4 5 b6 7 (C D E F G Ab B)
One important aspect to all of these scales/modes is that the root triad can function as the dominant of a minor chord and the b6 note is the minor third of this chord. To me this is what gives the character of this chord, an implied relationship of V-I.
For myself I've found the phrygian dominant feel the most appropriate scale to use in these situations but I admit it's all down to context.
Another possibility when playing arpeggios is to change chord specifically over the b6 note. Although an obvious chord eould be a minor iv chord (ie C major goes to F minor) an excellent option would be the major triad built on the b6 (ie C major to Ab major) which happens to be a chromatic mediant chord change.
Ok ... well I hope this has given some useful ideas. I admit that this is a fairly straightforward device to employ but it is useful to know about.
Also I have to say that I wrote this entire blog post from my phone while on the train to London. The Google G1 rocks!
Anyone who reads a lot of these blogs will be aware that one of the main things I've always loved about film music is the specific harmonic devices employed. To date I've already covered chromatic mediants, tritones, bitonality and planing.
In this blog I want to briefly discuss a fairly simple device which is exceptionally effective for giving a sense of otherworldliness. I'm going to look at the device itself, give examples of its usage and then discuss ways of using it and taking it further.
First, let's take a look at the device itself. This revolutionary device is ... a major triad with an added b6. Yup, that's it! If you want to try it out then play a C add b6 chord (C E G Ab). You should be able to hear the effect quite immediately. If that doesn't convince you then trying playing it as arpeggios and you should hear it.
In terms of usage, I'll give three fairly solid examples:
James Horner - Star Trek II The Wrath of Khan ... Check out the opening and main theme, you should hear arpeggios playing these add b6 sounds.
John Williams - Star Wars A New Hope ... A brief but important statement just after the main theme. A Caddb6 chord is played on woodwind and vibraphones while a melody is played on the piccolo. Although this only lasts a few seconds (around 1:24 on the soundtrack) it really does help to set the scene.
Howard Shore - The Fellowship of the Ring ... Ok, so here's the answer to the riddle in my title. In this score, Shore uses the device to add an air of mystery and otherworldliness to Rivendell. The device is played as arpeggios this time.
So hopefully these examples have convinced you that this device works. In fact I'm sure the good people of this forum will be able to furnish me with a myriad of better examples.
Ok, let's try and do some analysis. I'm sure most people have realised that the chord cannot be derived from the major scale or its modes. It can be derived from the following scales: -
Phrygian Dominant, the 5th mode of the harmonic minor spelt 1 b2 3 4 5 b6 b7 (eg C Db E F G Ab Bb).
Mixolyidan b6, the 5th mode of the melodic minor spelt 1 2 3 4 5 b6 b7 (C D E F G Ab Bb)
Harmonic major spelt 1 2 3 4 5 b6 7 (C D E F G Ab B)
One important aspect to all of these scales/modes is that the root triad can function as the dominant of a minor chord and the b6 note is the minor third of this chord. To me this is what gives the character of this chord, an implied relationship of V-I.
For myself I've found the phrygian dominant feel the most appropriate scale to use in these situations but I admit it's all down to context.
Another possibility when playing arpeggios is to change chord specifically over the b6 note. Although an obvious chord eould be a minor iv chord (ie C major goes to F minor) an excellent option would be the major triad built on the b6 (ie C major to Ab major) which happens to be a chromatic mediant chord change.
Ok ... well I hope this has given some useful ideas. I admit that this is a fairly straightforward device to employ but it is useful to know about.
Also I have to say that I wrote this entire blog post from my phone while on the train to London. The Google G1 rocks!
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