0:00:12 > 0:00:15My name's Janet and I'm a professional photographer.
0:00:18 > 0:00:21I love taking pictures of people and portraiture.
0:00:21 > 0:00:23There's something fascinating about
0:00:23 > 0:00:26other people's faces and the expressions they can make.
0:00:29 > 0:00:31Today I'm going to go outside
0:00:31 > 0:00:34and take a series of photographs of my model, Amy.
0:00:34 > 0:00:36This is the camera that I'll be using today.
0:00:36 > 0:00:40It's a very simple-to-use digital camera. You just point and click.
0:00:40 > 0:00:44I have to think about what I want to achieve in the photograph and
0:00:44 > 0:00:47how I'm going to get that image. You don't need a fancy camera.
0:00:47 > 0:00:50All you need is a bit of creativity and a bit of imagination.
0:00:50 > 0:00:53I'll photograph Amy in lots of different ways
0:00:53 > 0:00:56and then come back to the studio to pick my favourite images.
0:01:00 > 0:01:01# Strike the pose... #
0:01:07 > 0:01:08There's two really simple ways
0:01:08 > 0:01:11that you can change how your photograph looks.
0:01:11 > 0:01:13Basically, it's by turning your camera around.
0:01:13 > 0:01:15So if you take a photograph this way round,
0:01:15 > 0:01:18that's actually called landscape, and you get details in
0:01:18 > 0:01:20either side of your pictures.
0:01:20 > 0:01:22And then if you turn your camera 90 degrees, you'll get
0:01:22 > 0:01:23a portrait format,
0:01:23 > 0:01:25and you get more details
0:01:25 > 0:01:27on the top and bottom of your picture.
0:01:27 > 0:01:30Oh, that's fab, that's great, thank you.
0:01:35 > 0:01:38Another way of changing how your photograph looks
0:01:38 > 0:01:40is changing the perspective.
0:01:40 > 0:01:42"Perspective" is a posh word for angle of view.
0:01:42 > 0:01:45So instead of just standing here, head height,
0:01:45 > 0:01:47taking a photograph of your friend,
0:01:47 > 0:01:49be a little bit more creative. Go down below.
0:01:49 > 0:01:51Look up.
0:01:51 > 0:01:53Then you can go high and look down.
0:01:53 > 0:01:56And you don't even need to see what you're photographing
0:01:56 > 0:02:00because you can come down and have a look in the back of your camera.
0:02:02 > 0:02:04There's a big staircase over here,
0:02:04 > 0:02:07so I'm going to the top to take some photographs looking down,
0:02:07 > 0:02:10and it'll give us a completely different photograph.
0:02:13 > 0:02:16The good thing up here is, I can get a really wide shot of Amy
0:02:16 > 0:02:19looking quite lost down there. Or you can zoom in and get a tight shot.
0:02:19 > 0:02:21You're just looking from a high angle.
0:02:21 > 0:02:23So it looks quite different.
0:02:26 > 0:02:29Amy, we're going to get you to run down here.
0:02:29 > 0:02:33As long as we get lots of movement and energy in there, that'd be great.
0:02:33 > 0:02:35Are you ready? Right, go!
0:02:35 > 0:02:39Sometimes you want the photo to be still and posed and steady,
0:02:39 > 0:02:41and other times you want movement in there,
0:02:41 > 0:02:42and if you can get somebody running
0:02:42 > 0:02:44or if you get a fast car going past you,
0:02:44 > 0:02:48all you need to do is just track your camera and follow the action.
0:02:48 > 0:02:49Get a bit of movement in there,
0:02:49 > 0:02:52a bit of blur that just suggests a bit of action.
0:03:02 > 0:03:04Look around you, see what you can be creative with,
0:03:04 > 0:03:07just to make a different photograph. I've been using the holes
0:03:07 > 0:03:11in this stairway to add something to the photo, and I've been focussing on
0:03:11 > 0:03:12the front mesh here,
0:03:12 > 0:03:15and also focussing through and looking at Amy as well.
0:03:20 > 0:03:23I think we've got enough now, so I'm going to go back to the studio
0:03:23 > 0:03:26and get these printed off and see what they look like.
0:03:29 > 0:03:31Wow, these look really cool.
0:03:37 > 0:03:38The portrait and landscape pictures.
0:03:38 > 0:03:40So we can see here that we've got
0:03:40 > 0:03:43more of the side of the photograph in this one next to Amy.
0:03:43 > 0:03:45And here we've got more of the sky
0:03:45 > 0:03:48and more of the land. We've actually got more of Amy's body in,
0:03:48 > 0:03:50and I think this picture works better.
0:03:52 > 0:03:54This is the picture of Amy running.
0:03:54 > 0:03:56What we've got is quite a blurry image.
0:03:56 > 0:04:00You can see all the hair flying, and you've got all that movement there.
0:04:00 > 0:04:01Really pleased with that.
0:04:01 > 0:04:03What we've got here is
0:04:03 > 0:04:04the photo that I took from the ground.
0:04:04 > 0:04:07You can't see much of the environment,
0:04:07 > 0:04:08but you can see the background.
0:04:08 > 0:04:11And then we went up the top, and you can see that she's
0:04:11 > 0:04:13stood under these great big railway arches,
0:04:13 > 0:04:15and she actually looks very small
0:04:15 > 0:04:17and a little bit isolated down there on her own.
0:04:18 > 0:04:21These are the photographs that we took using the environment.
0:04:21 > 0:04:25If you remember, on that staircase we had those little holes that I was
0:04:25 > 0:04:28poking my camera through. So you can see here that Amy's quite
0:04:28 > 0:04:32blurred, but the holes and the metal mesh are in focus.
0:04:32 > 0:04:35On this one, however, you can see that it's Amy that's in focus.
0:04:35 > 0:04:38And I think this one works better just using the mesh as a background
0:04:38 > 0:04:40rather than as the focus.
0:04:40 > 0:04:43We can see Amy there quite clearly.
0:04:58 > 0:05:01It's really important to realise there's no rights and wrongs
0:05:01 > 0:05:03when you come to take a photograph.
0:05:03 > 0:05:05Just experiment and have fun,
0:05:05 > 0:05:07and just take photographs of what you like.
0:05:11 > 0:05:14HE BEATBOXES
0:05:14 > 0:05:16Let me tell you how beatboxers come to be
0:05:16 > 0:05:18Start with live drum kits and drum machines
0:05:18 > 0:05:21Beatboxing's a part of hip hop, started in New York
0:05:21 > 0:05:24Now we're so cool, making music with our vocals
0:05:24 > 0:05:26Plus, it's local, here in the UK
0:05:26 > 0:05:29We'll show you how to make music in a new way.
0:05:29 > 0:05:31- Bass drum.- Ppp ppp.
0:05:31 > 0:05:32- Hi-hat.- Tss tss.
0:05:32 > 0:05:33- Snare.- Kkk kkk.
0:05:33 > 0:05:37- My rap. - SHE BEATBOXES
0:05:38 > 0:05:40HE BEATBOXES
0:05:41 > 0:05:42HE BEATBOXES
0:05:55 > 0:05:58Now I'll teach you the bass-drum sound
0:05:58 > 0:06:00That's the big drum, the one that's round
0:06:00 > 0:06:02It has a deep sound, not one that's weak
0:06:02 > 0:06:05So whatever I say, follow and repeat.
0:06:05 > 0:06:07- Bass drum.- Bass drum.
0:06:07 > 0:06:08- Bass.- Bass.
0:06:08 > 0:06:09- B.- B.
0:06:09 > 0:06:11- Buh.- Buh.
0:06:11 > 0:06:12- Ppp.- Ppp.
0:06:12 > 0:06:15- Ppp.- Ppp.- Ppp.- Ppp.- Ppp.- Ppp.
0:06:15 > 0:06:18Now it's your turn to learn.
0:06:18 > 0:06:19Bass drum.
0:06:19 > 0:06:20Bass.
0:06:20 > 0:06:21B.
0:06:21 > 0:06:23Buh.
0:06:23 > 0:06:24Ppp.
0:06:24 > 0:06:26Ppp.
0:06:26 > 0:06:27Ppp.
0:06:27 > 0:06:28Ppp.
0:06:32 > 0:06:35Now we'll teach you the hi-hat cymbal
0:06:35 > 0:06:36We'll start simple
0:06:36 > 0:06:38Later, to keep up, you'll have to be nimble
0:06:38 > 0:06:41The hi-hat keeps the time of the beat
0:06:41 > 0:06:43So whatever I say, follow and repeat.
0:06:43 > 0:06:45- Hi-hat.- Hi-hat.
0:06:45 > 0:06:46- Hat.- Hat.
0:06:46 > 0:06:49- T.- T.- Tuh.- Tuh.- Tss.- Tss.
0:06:49 > 0:06:53- Tss.- Tss.- Tss.- Tss.- Tss.- Tss.
0:06:53 > 0:06:55Now it's your turn to learn.
0:06:55 > 0:06:56Hi-hat.
0:06:56 > 0:06:57Hat.
0:06:57 > 0:06:59T.
0:06:59 > 0:07:00Tuh.
0:07:00 > 0:07:01Tss.
0:07:01 > 0:07:02Tss.
0:07:02 > 0:07:04Tss.
0:07:04 > 0:07:06Tss.
0:07:09 > 0:07:11The snare drum makes a loud crack
0:07:11 > 0:07:15Later, we'll put it together with the bass and hi-hat
0:07:15 > 0:07:17Then, the beat will be complete
0:07:17 > 0:07:20But first, you've got to follow and repeat.
0:07:20 > 0:07:21- Crack.- Crack.
0:07:21 > 0:07:23- K.- K.
0:07:23 > 0:07:25- Kuh.- Kuh.- Kkk.- Kkk.
0:07:25 > 0:07:29- Kkk.- Kkk.- Kkk.- Kkk.- Kkk.- Kkk.
0:07:29 > 0:07:30Now it's your turn to learn.
0:07:30 > 0:07:31Crack.
0:07:31 > 0:07:33K.
0:07:33 > 0:07:34Kuh.
0:07:34 > 0:07:35Kkk.
0:07:35 > 0:07:37Kkk.
0:07:37 > 0:07:38Kkk.
0:07:38 > 0:07:39Kkk.
0:07:39 > 0:07:41Kkk.
0:07:45 > 0:07:47Now get into groups, one, two and three
0:07:47 > 0:07:50One does the bass, ppp, ppp, like me
0:07:50 > 0:07:53Two does the hi-hat, tss, just like that
0:07:53 > 0:07:55Three does the snare, kkk, that goes "crack"
0:07:55 > 0:07:58Now put the sounds together like a DJ mixer
0:07:58 > 0:08:01Now make the sound when you see the picture.
0:08:01 > 0:08:03Ppp, ppp, ppp, ppp.
0:08:03 > 0:08:06Tss, tss, tss, tss.
0:08:06 > 0:08:09Kkk, kkk, kkk, kkk.
0:10:18 > 0:10:20# Now that we've taught you the drums
0:10:20 > 0:10:25# You can sing melodies when you hum The melody makes the beat you and me
0:10:25 > 0:10:28# When everybody says Follow and repeat
0:10:28 > 0:10:30- # Hum - Hum
0:10:30 > 0:10:32- # Hum - Hum
0:10:32 > 0:10:33- # Mmm - Mmm
0:10:33 > 0:10:35- # Mmm - Mmm
0:10:35 > 0:10:37# Now it's your turn to learn
0:10:37 > 0:10:44# Hum, mmm, mmm, mmm, mmm
0:10:50 > 0:10:52# Mmm
0:10:55 > 0:10:56# Mmm
0:10:59 > 0:11:01# Mmm
0:11:04 > 0:11:06# Mmm
0:11:09 > 0:11:10# Mmm
0:11:13 > 0:11:15# Mmm, mmm
0:11:16 > 0:11:18# Mmm
0:11:36 > 0:11:38# Mmm
0:11:41 > 0:11:43# Mmm
0:11:45 > 0:11:47# Mmm #
0:11:54 > 0:11:57Welcome to the Art Challenge. We've asked three artists -
0:11:57 > 0:12:01a caricaturist, a sculptor and an abstract artist
0:12:01 > 0:12:03to make a self-portrait.
0:12:03 > 0:12:06I'm Chris Murphy and I'm a caricaturist.
0:12:06 > 0:12:10The caricaturist's main aim is really to exaggerate the features.
0:12:15 > 0:12:19My nose tends to turn up so I might exaggerate that a little more
0:12:19 > 0:12:20to bring out the character of it.
0:12:20 > 0:12:22The way to prepare for this piece of art
0:12:22 > 0:12:24is to get a load of photos together,
0:12:24 > 0:12:27sift through them and see which one I like the best.
0:12:27 > 0:12:30Sometimes photos are very flat, whereas when I look in the mirror
0:12:30 > 0:12:33I can turn this way and that and see the shape of the nose a bit better
0:12:33 > 0:12:34or the shape of the ear.
0:12:36 > 0:12:40The plan I have for the caricature is to tell a story.
0:12:40 > 0:12:44It's going to look like me and show the things I do -
0:12:44 > 0:12:47my hobbies and my interests.
0:12:47 > 0:12:51I'm Rosie Wates and I'm an abstract artist.
0:12:58 > 0:13:03The three main preparations I always would do are
0:13:03 > 0:13:06one would be background research - looking at things.
0:13:06 > 0:13:09In this case photographs of me as a baby,
0:13:09 > 0:13:14of my parents when they were babies.
0:13:14 > 0:13:19Number two would be sketching out the framework of the painting.
0:13:19 > 0:13:23I don't make all the decisions about a painting before I'm doing it
0:13:23 > 0:13:26because that is not for me what painting is about.
0:13:26 > 0:13:29The third thing would be lots of experimentation
0:13:29 > 0:13:33with wonderful, fantastic paint and colour.
0:13:33 > 0:13:36The way I want the painting to reflect me
0:13:36 > 0:13:38is nothing to do with the way I look.
0:13:38 > 0:13:42What I will be focussing on is my journey through life
0:13:42 > 0:13:46and it's this moment in time where I am in this journey.
0:13:46 > 0:13:51I'm Robert Bradford and I make sculptures out of toys.
0:13:58 > 0:14:00I use toys to make sculptures
0:14:00 > 0:14:04because they come in all shapes and sizes, colours and types
0:14:04 > 0:14:07and I like the fact that each bit of the sculpture
0:14:07 > 0:14:08has a character.
0:14:08 > 0:14:12My self portrait is going to be a businessman.
0:14:12 > 0:14:15In the recent past I've begun to be aware
0:14:15 > 0:14:18of how much business there is involved in the art world.
0:14:20 > 0:14:24The materials I use for the sculptures are really quite simple.
0:14:24 > 0:14:27They are cut-out plywood frames and then toys are screwed
0:14:27 > 0:14:30and sometimes glued onto them and onto each other.
0:14:30 > 0:14:36The mask forms the basic structure of the face which is the bones
0:14:36 > 0:14:39and the toys will be added to form the skin and muscle.
0:14:39 > 0:14:43I plan to make myself younger than I really am
0:14:43 > 0:14:45which you could say is kind to myself,
0:14:45 > 0:14:48but on the other hand it could end up slightly bonkers
0:14:48 > 0:14:51which may not be so flattering.
0:14:53 > 0:14:58Three weeks later and all our artists have come together in our studio.
0:14:58 > 0:15:01Rosie and Robert have already started to make their self-portraits
0:15:01 > 0:15:04and Chris is starting from scratch.
0:15:11 > 0:15:13I start with the eyes when I start a portrait.
0:15:13 > 0:15:18I imagine a horizontal line across the eyes, a vertical line down,
0:15:18 > 0:15:21and imagine that on my page it's like a framework
0:15:21 > 0:15:23to help me put things in the right place.
0:15:31 > 0:15:33I picked these colours, blue and gold,
0:15:33 > 0:15:37because my favourite things in the world are the sea and the sun,
0:15:37 > 0:15:39so I wanted that reflected in my self portrait
0:15:39 > 0:15:41because that's what makes me happy.
0:15:55 > 0:15:58My technique for attaching the toys is very simple.
0:15:58 > 0:16:01I have two basic methods. One is with a screwdriver and screws
0:16:01 > 0:16:03and the other is with a glue gun.
0:16:15 > 0:16:18I'm using this raised wallpaper
0:16:18 > 0:16:21as a very simple way of printing on the painting.
0:16:21 > 0:16:27I find it a really exciting way of building up a very rich surface.
0:16:33 > 0:16:37My original plan for the sculpture was to make myself as a businessman.
0:16:37 > 0:16:41I started using a skeleton mask to provide the underneath structure,
0:16:41 > 0:16:45but I grew fond of it as it went on so I kept a lot of it
0:16:45 > 0:16:48and the portrait is now me the artist as a bit of an old devil.
0:16:50 > 0:16:54Now I've done my basic drawing outline, I'm going to colour in
0:16:54 > 0:16:58using some soft pastels and a plain ordinary yellow duster.
0:16:58 > 0:17:01I literally rub the pastel in to create my tone and shading.
0:17:09 > 0:17:13The shapes and the forms I have used is basically the circle.
0:17:13 > 0:17:17There is a reflection of the tiniest forms in the universe, the atom,
0:17:17 > 0:17:19up to the hugest forms, the planets and the suns
0:17:19 > 0:17:22and I'm putting myself somewhere on that scale.
0:17:34 > 0:17:38Altogether it has taken me about four hours to finish this piece.
0:17:38 > 0:17:41Apart from drawing and painting, I like to play the piano.
0:17:41 > 0:17:42It is one of my first loves.
0:17:42 > 0:17:44So there is me playing the piano
0:17:44 > 0:17:46whilst trying to draw at the same time
0:17:46 > 0:17:47and I've got my dog Max in there.
0:17:47 > 0:17:50He's got his lead telling me it's time to go for a walk
0:17:50 > 0:17:53and there's books in the background that I like to read.
0:17:55 > 0:17:59It has taken me about four days to produce this painting.
0:17:59 > 0:18:04The way it reflects me is it's my place in the universe
0:18:04 > 0:18:07and in time because it's to do with my family histories
0:18:07 > 0:18:10going back in time, my children going forward in time,
0:18:10 > 0:18:15and I'm this little point somewhere in that huge arc of time.
0:18:18 > 0:18:22The sculpture has taken me about 50 hours I think.
0:18:22 > 0:18:26I notice a couple of things. One is he's got more hair than me
0:18:26 > 0:18:28which makes him younger than me and he's got a skeleton
0:18:28 > 0:18:31which makes him rather older than me as well,
0:18:31 > 0:18:34so it's not actually me - it's me in the past and me in the future.
0:18:34 > 0:18:36Do you, think he looks like me?
0:18:36 > 0:18:38- It's got your eyes!- Yeah!
0:18:38 > 0:18:44I think it captures your... I don't know - it's a cheeky chap, I think.
0:18:44 > 0:18:46Are these your relatives?
0:18:46 > 0:18:49Yes, they are all my family from Russia
0:18:49 > 0:18:52and the one of me in the middle is when I went back
0:18:52 > 0:18:54to where they had come from
0:18:54 > 0:18:58- and had somebody take a photo of me stood there.- It is a family tree.
0:18:58 > 0:18:59It is, very much.
0:18:59 > 0:19:01This does look like you as well, doesn't it?
0:19:01 > 0:19:04- I've not been too cruel.- No. - Or too flattering.
0:19:05 > 0:19:07That's a great dog as well.
0:19:07 > 0:19:09- That's my dog Max.- What kind is he? - A black lab.
0:19:09 > 0:19:11You mean you can't tell?!
0:19:17 > 0:19:20Hello, my name is Mark Thomas. I'm a musician and composer.
0:19:20 > 0:19:24I write music for film and television and this is my studio.
0:19:24 > 0:19:26Come inside and I'll take you behind the scenes
0:19:26 > 0:19:27and show you how it's done.
0:19:33 > 0:19:39One series that I create the music for is Shaun The Sheep on CBBC.
0:19:39 > 0:19:41There is no talking in Shaun The Sheep.
0:19:41 > 0:19:44It is all music and sound effects.
0:19:44 > 0:19:48Sometimes I use a big orchestra, but thanks to modern technology
0:19:48 > 0:19:51I can also use this wonderful computer programme.
0:19:51 > 0:19:53In the computer,
0:19:53 > 0:19:55there are lots of different instrument sounds - banjo.
0:19:57 > 0:19:59Double bass.
0:20:03 > 0:20:06Tam-tam, which is a big gong used in the orchestra.
0:20:06 > 0:20:08GONG!
0:20:08 > 0:20:10French horn.
0:20:11 > 0:20:13I play all the different instruments,
0:20:13 > 0:20:17layer them all together and make the complete finished piece of music.
0:20:17 > 0:20:18Like this.
0:20:18 > 0:20:20# It's Shaun the Sheep
0:20:20 > 0:20:22# It's Shaun the Sheep
0:20:22 > 0:20:26# He even mucks about With those who cannot bleat... #
0:20:26 > 0:20:29Sometimes, when you're watching TV, you don't even notice the music
0:20:29 > 0:20:31and how it adds to the scene.
0:20:31 > 0:20:35But music plays a really big part in telling a story.
0:20:35 > 0:20:38And the choice of instruments, tempo, pitch and style
0:20:38 > 0:20:40can completely change the mood.
0:20:40 > 0:20:43What I want to do is watch a couple of scenes from Shaun The Sheep
0:20:43 > 0:20:46and show you how it looks with different music playing
0:20:46 > 0:20:49or even with no music at all.
0:20:49 > 0:20:53Depending on the instruments, the style and tempo of the music,
0:20:53 > 0:20:55you can give the same scene different meanings.
0:20:55 > 0:20:57Just watch this.
0:20:57 > 0:20:59UPBEAT JAZZY MUSIC
0:21:11 > 0:21:14What did the music in that scene make you think of?
0:21:14 > 0:21:17Did it make you think that Bitzer was off on an adventure?
0:21:17 > 0:21:21Probably would have because the music is lively, the instrumentation
0:21:21 > 0:21:24and the style of the music imply some kind of adventure.
0:21:24 > 0:21:27But I'd like to show you that same scene with different music
0:21:27 > 0:21:30and see how this makes you feel.
0:21:34 > 0:21:37SAD PIANO MUSIC
0:21:40 > 0:21:42Bleat!
0:21:46 > 0:21:48Did it make you feel sad?
0:21:48 > 0:21:51I hope so. Because it's meant to be a sad scene.
0:21:51 > 0:21:53Bitzer the dog is leaving home.
0:21:53 > 0:21:57He's sad. Shaun the Sheep and all the rest of the sheep are sad,
0:21:57 > 0:22:02because he's leaving and I decided to depict the sadness with a solo piano,
0:22:02 > 0:22:05just a simple solo piano, just like this.
0:22:05 > 0:22:07SAD PIANO MUSIC
0:22:15 > 0:22:21Very often, to depict a sad scene, simplicity is the best way.
0:22:21 > 0:22:26Now I want to show you another scene from an episode called Bagpipe Buddy.
0:22:26 > 0:22:29And I'll play you the clip without any music,
0:22:29 > 0:22:32see if you can tell what's going on in the scene.
0:22:48 > 0:22:50Did you understand what the scene was about?
0:22:50 > 0:22:52It's hard to tell without any music, isn't it?
0:22:52 > 0:22:54Actually, in this scene,
0:22:54 > 0:22:57the animals feel sorry for the bagpipes
0:22:57 > 0:22:59and think he's an injured bird.
0:22:59 > 0:23:02They rush him into surgery for an operation.
0:23:02 > 0:23:05With that knowledge, what music do you think this scene needs?
0:23:05 > 0:23:08I'll play it now with a piece of music and see if this piece
0:23:08 > 0:23:10tells the story any better.
0:23:11 > 0:23:15UPLIFTING ITALIAN-STYLE MUSIC
0:23:23 > 0:23:26That music was slow, happy, a little dreamy.
0:23:26 > 0:23:29Didn't quite help the mood of the scene.
0:23:29 > 0:23:32The scene is a medical operation, there's danger, urgency,
0:23:32 > 0:23:37and this piece of music is what I actually wrote for this scene.
0:23:37 > 0:23:41UPBEAT DRAMATIC MUSIC
0:23:51 > 0:23:53Now that's more like it.
0:23:53 > 0:23:56The tempo or speed of the music is far better suited to the scene.
0:23:56 > 0:24:00It has urgency, pace and it drives the scene along.
0:24:00 > 0:24:02So, how do we get that effect?
0:24:02 > 0:24:06Well, it's all about instrumentation and how we use the instruments.
0:24:06 > 0:24:11First of all, I've used a low piano for drama and urgency.
0:24:15 > 0:24:18Then for more drama, I add the high violins,
0:24:18 > 0:24:20which is a stringed instrument.
0:24:22 > 0:24:24To keep us down on the farm,
0:24:24 > 0:24:27we use Shaun's instrument, which is the banjo.
0:24:33 > 0:24:38Some rhythm, that gives us a feel of time passing by quickly,
0:24:38 > 0:24:40which is a bit like a clock ticking.
0:24:40 > 0:24:41RAPID BEAT
0:24:44 > 0:24:45A heartbeat.
0:24:47 > 0:24:49Some drumming.
0:24:51 > 0:24:54And when you put it all together, it sounds like this.
0:25:07 > 0:25:10I hope that I've shown you how important music is
0:25:10 > 0:25:12to film and television.
0:25:12 > 0:25:16When you next compose, remember that the instruments, the speed
0:25:16 > 0:25:21and the style of music will dictate the emotions that you want to portray
0:25:21 > 0:25:23when you write that piece of music.
0:25:23 > 0:25:25So from me, it's bye for now,
0:25:25 > 0:25:27because I've got a date with Shaun The Sheep.
0:25:27 > 0:25:29It's been great having you with me.
0:25:29 > 0:25:30Bye.
0:25:30 > 0:25:33BANJO MUSIC PLAYS
0:25:41 > 0:25:45SOFT JAZZ MUSIC
0:26:27 > 0:26:29SNORING
0:27:04 > 0:27:05WHISTLE!
0:27:13 > 0:27:14WHISTLE!
0:27:19 > 0:27:21TRUMPETS BLARE
0:27:44 > 0:27:45INHARMONIOUS BLARING
0:27:45 > 0:27:47WHISTLE!
0:27:53 > 0:27:54WHISTLE SLIDES
0:28:06 > 0:28:09INHARMONIOUS BLARING
0:28:17 > 0:28:21LONE SAXOPHONE
0:28:58 > 0:29:02Subtitles by Red Bee Media Ltd
0:29:02 > 0:29:06E-mail subtitling@bbc.co.uk