According to buzzfeed.com, while making Nightmare Before Christmas, “Composer and lyricist Danny Elfman didn’t have a script to write the songs from. He asked Tim Burton to describe a scene and then Elfman would compose the song.” From a slightly biased composer’s perspective, this is an excellent example of how a film should be made.

Often, filmmakers don’t consider music or sound until the very end of the project. At which point, there is very little budget left, and all of the creative decisions have been made. The music must conform to the visuals; not a collaborative model at all. In my opinion, the music should influence the film and vice versa.

I learned this lesson from personal experience. As a graduate teaching assistant, I created an electronic music composition inspired by Federico García Lorca’s Poems of the Deep Song. It featured electronically manipulated classical guitar samples and a film by a very talented artist. My mistake was to write the music first, then expect the artist to make her film conform to my vision of the music and poetry. There are moments which work perfectly, but overall it would have been better if I had collaborated more closely with the artist from the beginning. In my case, I put the music first and the film second.

On the other hand, I worked on music and sound design for Interactive Science in 3d, an educational video game group at UGA funded by the National Institute of Health. It was a great collaborative experience. The game designers presented me and my colleague with an in-progress game. We composed a short piece for the opening scene and sent it back to them for approval. They liked it so much, they redesigned the beginning of the game to fit seamlessly with our music. The score inspired the design and vice versa. It was very effective and a lot of fun to see the final results. Check out the video below.

In my opinion, Nightmare Before Christmas is so successful because of the collaborative arrangement between Tim Burton and Danny Elfman. The music inspired the film’s visual design making it one of the greatest Halloween films of all time.

Can you name other films that follow this collaborative model?

Sequencing is another time-honored tool that most composers use on a regular basis. Sequencing is the immediate repetition of a motive at a higher or lower pitch level. The motive can be almost any length the composer desires as long as it is not a complete repetition of the entire phrase. Often the motive is quite short, just a few beats or a single measure.

I particularly like to use ascending sequences. They create a sense of growing intensity and anticipation, as if something important is about to happen. They work well as transitions to new sections or as a build up to an important climactic moment.

There are a number of different types of sequences. Two of the most used sequences are exact and tonal. Example No 1 is an original melody which I used in my first blog post to demonstrate inversion, retrograde, and retrograde inversion. Example No. 2 is the same melody subjected to exact sequencing. All of the intervals in each sequence are exactly the same as the original melody. Accidentals have to be added to maintain the intervallic relationship among the notes. This is sometimes referred to as a modulating sequence because, with the addition of so many accidentals in measure 4, the phrase has essentially modulated to the key of C# major.

Example No. 1

Example No. 2

Example No. 3 is the same melody subjected to tonally adjusted sequencing. None of the sequences have accidentals; therefore, the phrase remains in the key of F# minor.

Examples No. 3

Three and out is the general rule for sequencing. In other words, whatever you decide to sequence should only be sequenced three times; anything longer feels predictable and tedious.

In addition, it is advisable to vary the sequences. Change some of the notes or invert one of the sequences to keep the listener off balance. Most people are sophisticated enough to understand that a sequence is in progress and can predict what it will sound like as it unfolds. If one of the sequences, usually the third, is a little different, it will keep the audience off balance and engaged. If they can predict exactly what you are going to do next, you have lost them. Keep them engaged with unpredictable twists and turns. Example No. 4 demonstrates this concept. The last sequence is inverted; all of the intervals are upside down.

I encourage you to play through these examples, then apply sequencing to one of your own melodies and see what happens. Enjoy!

Example No. 4