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In these films, you'll be meeting children who've decided | 0:00:02 | 0:00:04 | |
to have a go at something they've never done before. | 0:00:04 | 0:00:08 | |
Composing music. | 0:00:08 | 0:00:10 | |
-Recording. -And five composers, | 0:00:10 | 0:00:13 | |
each with their own unique style, | 0:00:13 | 0:00:17 | |
will be sharing their top tips with them and with you. | 0:00:17 | 0:00:22 | |
My name is Kid Carpet. | 0:00:22 | 0:00:24 | |
I've been making music and playing in bands since I was 11 years old. | 0:00:24 | 0:00:29 | |
Now, I'm on a musical mission to get kids like you | 0:00:29 | 0:00:32 | |
composing music for the very first time. | 0:00:32 | 0:00:35 | |
To help me do that, I'm going to need some backup. | 0:00:41 | 0:00:44 | |
Meet Katie, Anthony, Mena, Owen and Sarannah. | 0:00:46 | 0:00:51 | |
-Hi, guys. -Hi! -Now then. | 0:00:51 | 0:00:54 | |
I know you're really excited about composing music today, | 0:00:54 | 0:00:56 | |
but before we get into that, | 0:00:56 | 0:00:59 | |
does anybody know what a composer actually does? | 0:00:59 | 0:01:02 | |
Is it someone that makes music? | 0:01:02 | 0:01:04 | |
-Like actually writes it and writes the tune? -You're right. | 0:01:04 | 0:01:07 | |
A composer is someone who creates and writes music, | 0:01:07 | 0:01:10 | |
often for a performance. | 0:01:10 | 0:01:12 | |
-And does anybody play a musical instrument? -No, I don't. -Perfect. | 0:01:12 | 0:01:16 | |
That's just what I'm looking for because in the next few hours, | 0:01:16 | 0:01:19 | |
I'm going to show you all that you can compose music. | 0:01:19 | 0:01:23 | |
Let's go. OK, so they know what a composer does. | 0:01:23 | 0:01:26 | |
Now they're going to meet one. | 0:01:26 | 0:01:29 | |
Pippa Murphy, has worked with artists and performers | 0:01:29 | 0:01:32 | |
all over the world and today, she's ours. | 0:01:32 | 0:01:35 | |
I've brought you here to the graffiti wall | 0:01:35 | 0:01:37 | |
to get a little bit of inspiration. | 0:01:37 | 0:01:39 | |
Sometimes it's really good to have a look at something to | 0:01:39 | 0:01:42 | |
get you started with your composition. | 0:01:42 | 0:01:44 | |
What I'd like you to do, is I'd like you to choose a colour from the wall. | 0:01:44 | 0:01:48 | |
Do you want to have a look around now? | 0:01:48 | 0:01:50 | |
So, you've all chosen your colours, yeah? OK. | 0:01:53 | 0:01:56 | |
What we're going to do is we're going to create a little pulse | 0:01:56 | 0:01:59 | |
to keep us going through this one. | 0:01:59 | 0:02:00 | |
Can you all use your two fingers here. Just a little clap. | 0:02:00 | 0:02:04 | |
And we're going to say our colours. Here we go. | 0:02:08 | 0:02:11 | |
-One, two, three, four, silver. -Orange. -Aqua. -Gold. -Lime green. | 0:02:11 | 0:02:18 | |
Turquoise. | 0:02:18 | 0:02:20 | |
Right, so what I want you to do, is to take your colour | 0:02:20 | 0:02:25 | |
and change it into a rhythmic pattern. | 0:02:25 | 0:02:27 | |
-Here we are. Silver. -Orange. -Aqua, Aqua. -G...g...gold. | 0:02:27 | 0:02:34 | |
Green, green, lime, lime, green, green, lime. | 0:02:34 | 0:02:36 | |
Turquoise, turquoise, turquoise. | 0:02:36 | 0:02:38 | |
All these rhythmic patterns that you've composed, | 0:02:38 | 0:02:41 | |
we're going to put together. | 0:02:41 | 0:02:42 | |
Here we go. One, two, three, four. | 0:02:42 | 0:02:45 | |
THEY ALL SHOUT | 0:02:45 | 0:02:47 | |
Now what we're going to do, is we're going to drop the words | 0:02:55 | 0:02:59 | |
and keep the rhythmic pattern with our clapping. | 0:02:59 | 0:03:02 | |
OK? One, two, three, four. | 0:03:02 | 0:03:06 | |
Now we've got the basis for our composition, | 0:03:15 | 0:03:18 | |
the rhythmic patterns there, | 0:03:18 | 0:03:20 | |
how can we improve? What should we do next? | 0:03:20 | 0:03:23 | |
Maybe we could add different vocal sounds and noises. | 0:03:23 | 0:03:27 | |
Have you got any ideas of sounds you can come with? | 0:03:27 | 0:03:31 | |
HE MAKES BEAT NOISES | 0:03:31 | 0:03:33 | |
Brilliant. It is so exhausting. That's great. | 0:03:38 | 0:03:41 | |
Once he's caught his breath, | 0:03:46 | 0:03:48 | |
it's time for Anthony to add his sounds to the rhythm. | 0:03:48 | 0:03:51 | |
This is sounding great. | 0:03:56 | 0:03:59 | |
Now we've got our two layers of composition, | 0:04:02 | 0:04:05 | |
shall we add a third one? | 0:04:05 | 0:04:06 | |
-Yes. -What do you think that should be? What could that be? | 0:04:06 | 0:04:09 | |
-It could be like singing a few phrases. -Singing a few phrases. | 0:04:09 | 0:04:13 | |
-Absolutely. Has anyone got a phrase? -I don't know if it will go. | 0:04:13 | 0:04:17 | |
-Ooh, ah, ooh. -Brilliant, let's start again. | 0:04:17 | 0:04:21 | |
You just do it and we'll just copy whatever you do. | 0:04:21 | 0:04:23 | |
Try it a few times, because it's quite tricky to come up with it. | 0:04:23 | 0:04:29 | |
-Ooh, ooh, ooh. -Ooh, ooh, ooh. | 0:04:29 | 0:04:34 | |
-Brilliant. -La, la, la. -Brilliant. | 0:04:34 | 0:04:38 | |
La, la, la. | 0:04:38 | 0:04:41 | |
-Ey. -Ey. -Ey. -Ey. | 0:04:42 | 0:04:47 | |
-Ey. -Ey. | 0:04:47 | 0:04:50 | |
-Ooh, ooh, ooh. -Ooh, ooh, ooh. | 0:04:50 | 0:04:53 | |
-Ey. -Ey. -Ey. -Ey. | 0:04:53 | 0:04:59 | |
What we're going to do now, is we're going to put our rhythm, | 0:04:59 | 0:05:03 | |
our percussion and melody together to create our composition. | 0:05:03 | 0:05:06 | |
I know the perfect place where it's going to sound amazing. | 0:05:06 | 0:05:09 | |
-So good, we're going to record it. -Yes! | 0:05:09 | 0:05:13 | |
Record it? I can definitely help with that. | 0:05:13 | 0:05:16 | |
And there will be great acoustics in here. | 0:05:16 | 0:05:19 | |
One, two, three, four. | 0:05:19 | 0:05:21 | |
CLAPPING | 0:05:21 | 0:05:25 | |
It was quite easy to decide what to put in. | 0:05:32 | 0:05:34 | |
It was just a bit harder deciding where to put it. | 0:05:34 | 0:05:38 | |
The thing I enjoyed about the composing, | 0:05:41 | 0:05:43 | |
is just you could say anything. | 0:05:43 | 0:05:46 | |
You could take anything that you saw and make it into a piece of music. | 0:05:46 | 0:05:50 | |
I'm really happy with the music we did because it sounded really nice | 0:05:53 | 0:05:58 | |
with everyone doing different things and doing what they were good at. | 0:05:58 | 0:06:01 | |
The sounds which were the most fun to make were the beatbox sounds. | 0:06:02 | 0:06:07 | |
The best bit about making the music | 0:06:07 | 0:06:10 | |
was putting it all together at the end and performing it. | 0:06:10 | 0:06:12 | |
Yeah! | 0:06:19 | 0:06:21 | |
One, two, three, four. | 0:06:24 | 0:06:28 | |
Musical compositions can be made in all sorts of different ways. | 0:06:31 | 0:06:34 | |
It's not always as you might imagine, | 0:06:34 | 0:06:37 | |
with guitars, bass, pianos and all that stuff. | 0:06:37 | 0:06:40 | |
I'm here to meet a load of kids and they're getting into | 0:06:48 | 0:06:51 | |
playing music just by banging on these old plastic barrels. | 0:06:51 | 0:06:54 | |
They're being led by Katie and Finlay, members of Trash, | 0:07:00 | 0:07:04 | |
a musical group that plays instruments made out of...trash. | 0:07:04 | 0:07:09 | |
Are you ready? And, one, two, three, four. | 0:07:09 | 0:07:13 | |
That sounded great, guys. Well done. | 0:07:13 | 0:07:15 | |
Where do all these drums come from? | 0:07:15 | 0:07:17 | |
Some are old water barrels which we've cleaned out | 0:07:17 | 0:07:19 | |
so they're now safe to use and now they're drums. | 0:07:19 | 0:07:22 | |
If I take some of these budding musicians on a bit of a raid | 0:07:22 | 0:07:26 | |
to go and find some materials | 0:07:26 | 0:07:27 | |
to make some musical instruments out of, | 0:07:27 | 0:07:30 | |
do you think you might be able to help compose a piece of music | 0:07:30 | 0:07:32 | |
-out of what they find? -Absolutely. That's what we do. | 0:07:32 | 0:07:38 | |
OK, so what you're looking for is anything that might make | 0:07:40 | 0:07:43 | |
a really interesting sound | 0:07:43 | 0:07:45 | |
and remember you might have to put a couple of items together | 0:07:45 | 0:07:48 | |
to make the sound work more effectively. OK? | 0:07:48 | 0:07:51 | |
Helping me today are Sean and Elise, Dan and Rosie. Let's go in. | 0:07:51 | 0:07:56 | |
Rosie gets stuck in straightaway. | 0:08:01 | 0:08:03 | |
It doesn't take very long to find her first trash style instrument. | 0:08:05 | 0:08:10 | |
Most of the time, it's a matter of combining a couple of things | 0:08:28 | 0:08:31 | |
to make your instrument. | 0:08:31 | 0:08:33 | |
Other times, it's just pick up and blow. | 0:08:36 | 0:08:40 | |
They're finding some really useful sounding materials. | 0:08:49 | 0:08:52 | |
It's going to be interesting to see | 0:08:52 | 0:08:54 | |
if they actually can compose a piece of music from scratch. | 0:08:54 | 0:08:58 | |
As soon as we get back, our composers' first task | 0:09:01 | 0:09:04 | |
is to sort out their trash instruments... | 0:09:04 | 0:09:07 | |
..before they can start practising. | 0:09:09 | 0:09:12 | |
What have you got there, Sean? Whoa! | 0:09:13 | 0:09:16 | |
How are you making that sound | 0:09:18 | 0:09:21 | |
because you're not taking the cap right off? | 0:09:21 | 0:09:23 | |
You take it off a little bit | 0:09:23 | 0:09:25 | |
and slam it back down and it makes a good popping sound. | 0:09:25 | 0:09:27 | |
Can I help? | 0:09:27 | 0:09:30 | |
Let's see what you can do with that. | 0:09:37 | 0:09:39 | |
Look at this. They've been going just a few minutes | 0:09:40 | 0:09:44 | |
and already we've got a melody on a colander, | 0:09:44 | 0:09:47 | |
some rhythm in a balloon | 0:09:47 | 0:09:49 | |
and a box full of foam or something, I don't know. | 0:09:49 | 0:09:53 | |
But yes, they're making a funky piece of music. | 0:09:54 | 0:09:58 | |
It's Elise that's emerging as the leader of the trash band. | 0:09:58 | 0:10:02 | |
She's got some great ideas for how they could end their composition. | 0:10:02 | 0:10:06 | |
We could all cut off at different bits. | 0:10:06 | 0:10:08 | |
Dan cut off, Sean will cut off and then Rosie will cut off | 0:10:08 | 0:10:10 | |
and I'll cut off and then you'll get quieter. | 0:10:10 | 0:10:14 | |
-OK, do you think you're ready to show us and direct us with that? -Yes. | 0:10:14 | 0:10:19 | |
-Excellent. -One, two, three, four. | 0:10:19 | 0:10:22 | |
You tell them, Elise. | 0:10:28 | 0:10:31 | |
I'm really pleased with the music we made today | 0:10:34 | 0:10:37 | |
and how they all went together. | 0:10:37 | 0:10:39 | |
I'm really impressed. | 0:10:41 | 0:10:42 | |
Now you've seen how it's done, why not give it a go? | 0:10:42 | 0:10:45 | |
You don't need to play a proper instrument | 0:10:45 | 0:10:47 | |
to make music out of scraps. | 0:10:47 | 0:10:49 | |
It's really easy to do. | 0:10:49 | 0:10:51 | |
Hi there, it's Keith Carpet here. | 0:10:56 | 0:10:59 | |
I've come to a school in Edinburgh where a seriously talented composer | 0:11:03 | 0:11:07 | |
is going to show us how to make music | 0:11:07 | 0:11:09 | |
from something called found sound. | 0:11:09 | 0:11:11 | |
What's all that about? | 0:11:11 | 0:11:13 | |
I'm a composer but I don't work with pianos or violins. | 0:11:13 | 0:11:17 | |
I just work with sounds that are all around me. | 0:11:17 | 0:11:20 | |
SCRAPING | 0:11:20 | 0:11:23 | |
Meet composer, Jules Rawlinson. Jules finds sounds everywhere. | 0:11:24 | 0:11:30 | |
Sounds that he digitally records to make unique | 0:11:32 | 0:11:37 | |
and wonderful compositions. | 0:11:37 | 0:11:40 | |
That's a piece of music that I made using recorded found sounds. | 0:11:48 | 0:11:53 | |
It's now time for Jake and Sarah, Jordan, Nathan, Eilidh | 0:11:53 | 0:11:58 | |
and Sarah to get to work and start recording. | 0:11:58 | 0:12:02 | |
So, the first thing we have to do is check the sound. | 0:12:02 | 0:12:05 | |
Hold the microphone in. If you want to bounce the ball. | 0:12:05 | 0:12:09 | |
-Check this out, right? -That sounds really cool. | 0:12:11 | 0:12:14 | |
They're bouncing a ball, recording the sound | 0:12:14 | 0:12:17 | |
and what's it going to be? I don't know. | 0:12:17 | 0:12:19 | |
A bass drum or some kind of percussion hit or something? | 0:12:19 | 0:12:23 | |
Recording. | 0:12:24 | 0:12:25 | |
Cool sound, guys. Nice squeaky, rusty sound. | 0:12:31 | 0:12:35 | |
-Get a good level on there? -It's fine. | 0:12:35 | 0:12:37 | |
-Sound good on the headphones? -Great. -OK, cool. | 0:12:37 | 0:12:40 | |
Now the team is using a hydrophone, | 0:12:40 | 0:12:43 | |
designed to safely record sounds in the water. | 0:12:43 | 0:12:46 | |
Sounds like it's fizzing and bubbling. | 0:12:47 | 0:12:50 | |
And stop. | 0:12:53 | 0:12:55 | |
-Did that sound good? -Falling stones and bench stamp. Recording. | 0:12:57 | 0:13:03 | |
So that's a bench stamp. | 0:13:06 | 0:13:09 | |
They've even got the headteacher. | 0:13:11 | 0:13:13 | |
So it looks like everyone's finished recording | 0:13:16 | 0:13:18 | |
their fantastic found sounds. | 0:13:18 | 0:13:20 | |
I wonder what they've got. | 0:13:20 | 0:13:22 | |
-Eilidh, did you have a favourite sound? -Bubbling. | 0:13:22 | 0:13:24 | |
I did the headteacher coughing. | 0:13:24 | 0:13:26 | |
So the next thing we have to do, | 0:13:26 | 0:13:28 | |
is copy the sounds to the computer and then we can start. | 0:13:28 | 0:13:31 | |
Jules transfers the digital sound files from the recorders, | 0:13:31 | 0:13:36 | |
so they can begin editing the sounds and arranging music. | 0:13:36 | 0:13:40 | |
We should really start up a beat. Maybe use that ball bouncing. | 0:13:40 | 0:13:43 | |
That's a great suggestion. | 0:13:43 | 0:13:46 | |
What we'll do is we'll copy it across into our session. | 0:13:46 | 0:13:49 | |
BALL BOUNCES | 0:13:49 | 0:13:52 | |
-Is that the sound that you meant? -Yes. -That's a really good one. | 0:13:55 | 0:13:59 | |
What about the headteacher? The headteacher's cough. | 0:13:59 | 0:14:04 | |
We can do that. | 0:14:04 | 0:14:06 | |
-OK. That one? -Yes. -Let's copy that across then. | 0:14:06 | 0:14:09 | |
You can search for free audio recording software on the internet. | 0:14:12 | 0:14:16 | |
Make sure it's from a trusted source before you download it. | 0:14:16 | 0:14:21 | |
COUGHING | 0:14:21 | 0:14:23 | |
-Do you like that? -We could use the spray to go along with the beat. | 0:14:23 | 0:14:31 | |
Let's see how it sounds. | 0:14:31 | 0:14:32 | |
SPRAY SOUNDS | 0:14:32 | 0:14:34 | |
-Yes. -Yes, that's good, isn't it? | 0:14:34 | 0:14:38 | |
So, we'll start our beat playing and then we can choose | 0:14:38 | 0:14:41 | |
where we want to put it. | 0:14:41 | 0:14:42 | |
Maybe somebody can click their fingers | 0:14:42 | 0:14:45 | |
and we'll know where it should go in the beat. | 0:14:45 | 0:14:47 | |
Where do you think it should go? | 0:14:53 | 0:14:54 | |
Maybe put it in after the second beat. | 0:14:54 | 0:14:57 | |
That's a really good place to put it. | 0:14:57 | 0:15:01 | |
RHYTHMIC COUGHING | 0:15:01 | 0:15:05 | |
You could put one here too. | 0:15:05 | 0:15:08 | |
RHYTHMIC COUGHING | 0:15:08 | 0:15:11 | |
This is sounding really interesting. Let's take a look, come on. | 0:15:14 | 0:15:18 | |
It's sounding great, guys. Loving this. | 0:15:19 | 0:15:23 | |
What's making this diggida-biggida-biggida-boom | 0:15:23 | 0:15:26 | |
-kind of a sound? -The railings. | 0:15:26 | 0:15:28 | |
The railings just out there? OK. What else is in there? | 0:15:28 | 0:15:31 | |
There's a boom bass drum thing going on. | 0:15:31 | 0:15:34 | |
-That was a bouncing ball. -Bouncing the ball in the playground. | 0:15:34 | 0:15:37 | |
-The feet scuffing on the gravel. -Scuffing their feet on the gravel. | 0:15:37 | 0:15:41 | |
-The headteacher coughing. -That was good fun recording that. | 0:15:41 | 0:15:46 | |
Can we do something with the headteacher's cough? | 0:15:46 | 0:15:49 | |
Turn it into an instrument? Make it go... | 0:15:49 | 0:15:51 | |
-CHANGES PITCH -Can we do that? | 0:15:51 | 0:15:54 | |
Yeah. COUGHS AT DIFFERENT PITCHES | 0:15:54 | 0:15:57 | |
Yeah, that is completely it. I can't wait to hear this finished. | 0:15:57 | 0:16:01 | |
So what I'm doing is using the keyboard to play | 0:16:01 | 0:16:04 | |
the cough at different pitches. | 0:16:04 | 0:16:06 | |
I think we need another sound in there. | 0:16:06 | 0:16:08 | |
Something to work with the melody. | 0:16:08 | 0:16:11 | |
We could use the squeaky gate. | 0:16:11 | 0:16:13 | |
The squeaky gate might be a really good one. Yeah. | 0:16:13 | 0:16:17 | |
GATE SQUEAKS | 0:16:17 | 0:16:20 | |
With some fish tank bubbles laid down, it's time to put melody | 0:16:21 | 0:16:26 | |
and rhythm together and what you get is a kicking dance track. | 0:16:26 | 0:16:30 | |
Anybody could do this if they wanted to, | 0:16:30 | 0:16:33 | |
but they'd need something that can record noise. | 0:16:33 | 0:16:36 | |
You can use something like a mobile phone | 0:16:36 | 0:16:39 | |
or if you have a digital camera that can record sound. | 0:16:39 | 0:16:42 | |
I'd like to try it in my home. | 0:16:43 | 0:16:46 | |
It is really fun to put all of those sounds together. | 0:16:47 | 0:16:51 | |
I love the final track, it's really cool. | 0:16:51 | 0:16:55 | |
I'm here on the banks of the Tyne with a famous composer | 0:17:03 | 0:17:06 | |
and also a bunch of kids who are about to compose | 0:17:06 | 0:17:10 | |
their own piece of music for the very first time. | 0:17:10 | 0:17:13 | |
John Kefala-Kerr's work involves collaborating | 0:17:18 | 0:17:23 | |
with all sorts of musicians and today is no exception. | 0:17:23 | 0:17:27 | |
He is keen to find out what Emily, Nathan, Rachel, | 0:17:27 | 0:17:31 | |
Maddy and Macy, Alex and Paul can come up with, | 0:17:31 | 0:17:35 | |
especially since none of them | 0:17:35 | 0:17:37 | |
have ever tried to compose a piece of music before. | 0:17:37 | 0:17:40 | |
And there's another challenge. | 0:17:40 | 0:17:42 | |
Guys, listen up. Listen up. | 0:17:42 | 0:17:45 | |
So we're working towards making a composition, | 0:17:45 | 0:17:49 | |
working towards some kind of shape. | 0:17:49 | 0:17:52 | |
What I haven't told you though is that by the end | 0:17:52 | 0:17:55 | |
of this afternoon, we will be playing the piece. | 0:17:55 | 0:17:58 | |
Yes! | 0:17:58 | 0:18:00 | |
But first, it's down to the river to soak up some inspiration. | 0:18:00 | 0:18:04 | |
The waves on the water, when it's closer to the shore, | 0:18:04 | 0:18:07 | |
they're quite small and gentle but as you go further away, | 0:18:07 | 0:18:12 | |
-they get larger and more choppy. -What about the object in front of us? | 0:18:12 | 0:18:16 | |
I think we should start with more of a simple melody, to start with. | 0:18:18 | 0:18:23 | |
And then like build it up to make it like an arch of the bridge. | 0:18:23 | 0:18:28 | |
That's quite a complex lattice-work of girders and metalwork. | 0:18:28 | 0:18:34 | |
Can you picture a musical... A way of doing that musically? | 0:18:34 | 0:18:39 | |
SHE PLAYS FRENCH HORN | 0:18:41 | 0:18:46 | |
It's got a really interesting shape to it. Tell us about it. | 0:18:48 | 0:18:52 | |
I was thinking about the smoothness of the river, | 0:18:52 | 0:18:57 | |
how relaxing and calm it is and shape it round that really. | 0:18:57 | 0:19:00 | |
I think Emily's little melody sounds more like the arch of the bridge | 0:19:00 | 0:19:05 | |
because it starts like quietly and then it gets louder | 0:19:05 | 0:19:09 | |
and then it sort of fades away. | 0:19:09 | 0:19:11 | |
I like the heavy sound and everything it represents, | 0:19:11 | 0:19:14 | |
the heavy metal of the bridge. | 0:19:14 | 0:19:16 | |
It sort of just came out really, but... | 0:19:26 | 0:19:30 | |
Maddy's come up with a simple melody she hopes will work really well. | 0:19:30 | 0:19:35 | |
Nathan is learning the chord structure. | 0:19:35 | 0:19:38 | |
-Then B, then F. -B Flat Major. | 0:19:38 | 0:19:41 | |
He in turn works with Emily, the French horn player, | 0:19:41 | 0:19:45 | |
as they both layer in their sounds to complement the piano melody. | 0:19:45 | 0:19:50 | |
They're really just improvising with the melody | 0:19:53 | 0:19:57 | |
and playing about to see what works. | 0:19:57 | 0:20:00 | |
OK? What I want to do is let the room have the first word. | 0:20:00 | 0:20:06 | |
OK. | 0:20:08 | 0:20:10 | |
The children use a single sound, or a chord... | 0:20:10 | 0:20:13 | |
..to fill the silence of the room. | 0:20:17 | 0:20:20 | |
And then together, they use that to build a multilayered sound. | 0:20:22 | 0:20:27 | |
John, it seems to be working well cos the kids are picking up | 0:20:33 | 0:20:36 | |
different instruments, moving around and using different things. | 0:20:36 | 0:20:40 | |
Yeah, and I think that sort of slightly... It's not chaotic exactly. | 0:20:40 | 0:20:44 | |
It's got a mobile sense of creating stuff. | 0:20:44 | 0:20:48 | |
It means that you're not too fixated on one end result | 0:20:48 | 0:20:52 | |
cos it's actually too early to become fixated. | 0:20:52 | 0:20:55 | |
You need to try things out, move around a bit and see what happens. | 0:20:55 | 0:20:58 | |
I think also we should include the vibraphone | 0:20:58 | 0:21:01 | |
cos it's got a really nice sound | 0:21:01 | 0:21:04 | |
and we haven't really given it a chance to play out in this piece. | 0:21:04 | 0:21:09 | |
I think that's a great idea. Rachel is going to bring that out | 0:21:09 | 0:21:13 | |
and then we'll see where we end up from there. | 0:21:13 | 0:21:17 | |
Great call to add the vibraphone solo to the composition. | 0:21:25 | 0:21:30 | |
I think they've managed to create something really special. | 0:21:33 | 0:21:37 | |
OK, everyone. Time is up. | 0:21:37 | 0:21:38 | |
Are you ready to go for the final composition? One, two, three. | 0:21:38 | 0:21:44 | |
THEY BEGIN PLAYING | 0:21:45 | 0:21:49 | |
I've never really composed before. | 0:22:19 | 0:22:21 | |
The part that I enjoyed most about the whole composing process was | 0:22:21 | 0:22:26 | |
after having all the inspiration, finally turning it into a piece. | 0:22:26 | 0:22:30 | |
It was very helpful to see like how the river moved and the structure | 0:22:33 | 0:22:37 | |
of the bridge and how we could use that to compose the piece of music. | 0:22:37 | 0:22:42 | |
It had different instruments | 0:22:44 | 0:22:46 | |
and you don't know like whether the notes will clash or they'll fit. | 0:22:46 | 0:22:51 | |
So I'm really pleased because it sounds really good. | 0:22:51 | 0:22:55 | |
I've enjoyed most about when we went to the river, it's been really fun. | 0:22:55 | 0:23:00 | |
Being able to work with friends on like one big composition | 0:23:03 | 0:23:09 | |
has been really good fun. | 0:23:09 | 0:23:13 | |
We've got a really nice outcome. It's just amazing. | 0:23:13 | 0:23:18 | |
This is what we know today as a silent movie. | 0:23:23 | 0:23:27 | |
But back in 1914, when audiences first watched Charlie Chaplin | 0:23:30 | 0:23:33 | |
starring as the Tramp, they didn't watch in silence. That's because | 0:23:33 | 0:23:39 | |
musicians were employed in each and every cinema to play live music. | 0:23:39 | 0:23:44 | |
Their job was to watch the film | 0:23:45 | 0:23:49 | |
and make up music that complemented the action. | 0:23:49 | 0:23:52 | |
Mike Nolan keeps this tradition alive. | 0:23:52 | 0:23:56 | |
He's been improvising music for old silent movies for 20 years. | 0:23:56 | 0:24:01 | |
I'm here to pick his brains. | 0:24:01 | 0:24:03 | |
What top tips would you have for someone who wants to compose music | 0:24:03 | 0:24:07 | |
-for action for the first time? -OK. | 0:24:07 | 0:24:09 | |
The first thing I would want to do is really | 0:24:09 | 0:24:11 | |
get into the mood of the film and the mood of the character. | 0:24:11 | 0:24:15 | |
Are they in a really blind panic? | 0:24:15 | 0:24:17 | |
PLEASE FRANTICALLY | 0:24:17 | 0:24:21 | |
I would think about where are they. Are they on a boat? | 0:24:21 | 0:24:25 | |
PLAYS CALMLY | 0:24:25 | 0:24:29 | |
I would also think about the speed of the action. | 0:24:29 | 0:24:32 | |
Are they running away from a train? TENSE MUSIC | 0:24:32 | 0:24:37 | |
Great tips. Thanks very much. | 0:24:39 | 0:24:41 | |
So we've seen how music used to be played in the cinemas | 0:24:41 | 0:24:43 | |
to accompany a film, but that was back then. | 0:24:43 | 0:24:46 | |
This is now. | 0:24:46 | 0:24:48 | |
I've made a film but it's not finished yet. | 0:24:48 | 0:24:52 | |
Like the old Charlie Chaplin movie, it needs music to bring it to life. | 0:24:52 | 0:24:57 | |
I'm about to meet up with composer Lauren Hayes, who I think can help. | 0:24:57 | 0:25:02 | |
She specialises in using electronic sounds, | 0:25:02 | 0:25:05 | |
which will be great for my futuristic setting. | 0:25:05 | 0:25:08 | |
Today, Lauren is working with Sam, Catherine, Liana and Essen. | 0:25:08 | 0:25:14 | |
They'll be using a games controller, a keyboard, a crackle box, | 0:25:14 | 0:25:20 | |
and a microphone to make digital sounds, using Lauren's computer. | 0:25:20 | 0:25:26 | |
Time to hand this job over to our composers. | 0:25:26 | 0:25:30 | |
Before they start working on my film, | 0:25:30 | 0:25:33 | |
they'll need to take a closer look at it to help them imagine | 0:25:33 | 0:25:37 | |
what sounds will be best to tell the story. | 0:25:37 | 0:25:40 | |
Let's think about the movement first. | 0:25:40 | 0:25:43 | |
-What's the robot doing just now? -ALL: Walking. | 0:25:43 | 0:25:46 | |
Yeah, so he's walking towards the girl. We could do robot noises. | 0:25:46 | 0:25:50 | |
And then in the middle of the film, they had a kind of struggle. | 0:25:50 | 0:25:54 | |
-A tug-of-war. -Exactly. | 0:25:54 | 0:25:56 | |
Now we're going to have a look at it again | 0:25:58 | 0:26:01 | |
and think about the kind of emotions the characters | 0:26:01 | 0:26:04 | |
are feeling in the film, so if they're happy, sad, angry. | 0:26:04 | 0:26:07 | |
-Let's have a look and see. Right now, what does she look like? -Happy. | 0:26:07 | 0:26:12 | |
-She looks really happy. And now she looks... -Surprised. -Exactly. | 0:26:12 | 0:26:16 | |
-Why do you think that is? -The robot is coming towards her. | 0:26:16 | 0:26:22 | |
-And what do you think the girl is thinking. -Maybe he fancies her? | 0:26:22 | 0:26:26 | |
-Like kind of, "Oh, he loves me." -Exactly. | 0:26:26 | 0:26:30 | |
-Now, what's happening? -They're fighting. | 0:26:31 | 0:26:35 | |
-What kind of emotion is that? -Crying. | 0:26:35 | 0:26:38 | |
Yeah, the girl looks really sad. | 0:26:38 | 0:26:40 | |
-The robot's got his flower, so he's feeling...? -Over the moon. -Excellent. | 0:26:40 | 0:26:45 | |
So they've sorted out and agreed the emotions and actions of my film. | 0:26:45 | 0:26:49 | |
Now all they have to do is start composing. | 0:26:49 | 0:26:52 | |
PEACEFUL HAPPY MUSIC | 0:26:52 | 0:26:55 | |
This sounds like it could be the happy music for the beginning. | 0:26:58 | 0:27:02 | |
MECHANICAL ROBOT SOUNDS | 0:27:02 | 0:27:06 | |
He's got it. He's watching the film and bringing the action to life. | 0:27:08 | 0:27:11 | |
It's really working with the picture. | 0:27:11 | 0:27:15 | |
I want that flower. | 0:27:15 | 0:27:18 | |
HIGH PITCHED: Oh, I think he fancies me. | 0:27:18 | 0:27:22 | |
These are great sounds. | 0:27:22 | 0:27:25 | |
She's imagining what my characters would be thinking and saying. | 0:27:25 | 0:27:28 | |
ELECTRONIC CRACKLES | 0:27:28 | 0:27:31 | |
The movement of the robot, brilliant. | 0:27:31 | 0:27:33 | |
I wondered what that box would sound like. | 0:27:33 | 0:27:35 | |
Great, so now we're going to all try it together. | 0:27:35 | 0:27:40 | |
This should be interesting. | 0:27:40 | 0:27:42 | |
This will be the first time our musicians have played together. | 0:27:42 | 0:27:45 | |
Let's go and...action. | 0:27:45 | 0:27:48 | |
PEACEFUL HAPPY MUSIC | 0:27:48 | 0:27:51 | |
ROBOTIC SOUNDS | 0:27:55 | 0:27:57 | |
ELECTRONIC SQUEAKING | 0:27:57 | 0:28:01 | |
HIGH-PITCHED SQUEAKING | 0:28:01 | 0:28:05 | |
This is looking and sounding really interesting now. | 0:28:05 | 0:28:10 | |
-Guys, is my film ready, complete with soundtrack? -ALL: Yes. | 0:28:10 | 0:28:14 | |
OK, roll the film. | 0:28:14 | 0:28:16 | |
PEACEFUL HAPPY SOUNDS | 0:28:16 | 0:28:18 | |
ELECTRONIC SQUEAKING | 0:28:20 | 0:28:23 | |
ROBOTIC SOUNDS | 0:28:23 | 0:28:26 | |
HIGH-PITCHED SQUEAKING | 0:28:26 | 0:28:30 | |
ROBOTIC SOUNDS | 0:28:34 | 0:28:37 | |
TENSE RUMBLING | 0:28:37 | 0:28:40 | |
HIGH-PITCHED SQUEAKING | 0:28:40 | 0:28:43 | |
CONTENTED ROBOT SOUNDS | 0:28:43 | 0:28:45 | |
-Fantastic, guys. Well done. -Thank you. | 0:28:52 | 0:28:56 | |
Subtitles by Red Bee Media Ltd | 0:29:02 | 0:29:05 |