Theatrical scoring

[TexasMusicForge]

I've got a commission to write a score for a February professional production of "The Glass Menagerie" by Tennessee Williams. Since this forum is new, I thought I'd post a request for ideas from any other professional sound designers.

Musically, I'm somewhat limited in what I can do since the play is firmly set in the 1930s. In keeping with the old-timey setting and the recurring themes of glass and being fragile, I'm inclined to write a lot of tinkly-sounding mandolin (maybe clarinet) melodies over acoustic guitar playing jazz chords, a sampled upright piano and string bass. It's a small, intimate play so I'm thinking along the lines of an intimate small combo swing jazz meets honky tonk sound.

Any cool ideas or suggestions?

Best regards,

Ed
Austin, Texas
Land O' 10,000 Guitars

[bugs]

Theatrical sound design and the sound design that is discussed here are two different things.

[kenn]

Hi Ed,

Is the requirement just for scene-setting and bridging music? I used to be involved with small amateur theatre and our budgets usually limited us to researching and finding period recordings to use.

Some ideas just off the top 'o my caffeinated head:
- when i think 30's and small/fragile, I think of small "tea dance" orchestras like the Palm Court Orchestra. I also think of 78s of jazz players - Bix Biederbecke, Wingy Manone, etc. doing light "pop" jazz numbers
- the above may be too 20's actually. Maybe you're more on track with the idea of simple depression-era two-step-type music, with a folky acoustic sound.

-if there's a big old radio console on set, that could be the "rationale" for the music, even to the point of the actors interacting with it, eg turning the radio down or off as the scene opens. So the recording would have that simple, old-time sound.

Hope these help (even though it's not official KVR sound design )

[jemma.nelson]

Hi Ed,

For a different slant, instead of keeping it environmental and within the period, you could base your sound design on a conceptual approach: since Glass Menagerie is a well-known play, what's this production's particular take on it?

-Laura's arc is usually central to the play: what about researching music by young female singer-songwriters, or looking at songs based on topics of first love, youth, coming-of-age? You could reference familiar melodies if the music has to be non-vocal.

-Play on the idea of glass and look at music made with glass intruments-- there are interesting sound libraries out there.

-Is the play location remaining as the original or is the director moving it? Research local songs from the period in your area (libraries are great resources).

-Think of what would be contrasting instead of complementary sound-- contrasts can heighten thematic gestures.

These approaches are a little riskier and could be gimmicky if done too heavy-handed, but I always find doing the research in an offshoot vein is always rewarding, even if the end result has to be reined in.

As far as technical issues, look at Ableton Live for a delivery system for live performance. You can incorporate music and sound effects, it's rock solid, I've been using it for a long time and always find it dependable.

Hope this helps

[TexasMusicForge]

Some very good ideas here from some fellow professional sound designers. Thanks to jemma and kenn for the very solid, creative and professional input. I rather like the radio set idea and may try to tie this in with the record player which is mentioned in the script. Also, the contrasting and glass instrument ideas are worth exploring.

Mr./Ms. Bugs: with all due respect, sound design is exactly what the name implies, whatever your apparently narrow and narrow-minded definition. May I humbly suggest either a little more thought or a switch to decaf?

Thanks again for some solid and very useful suggestions, y'all.

Best regards,

Ed

[bugs]

Dear Mr/Ms Ed,

I was just trying to steer you to a more appropriate forum, but obviously uour a petulant prick and not worth the time.

[kenn]

Uh, bugs, you provided zero steering or guidance, just a slap-down.

...But this wouldn't be KVR without someone adding some pointless snark, would it?

[TexasMusicForge]

...But this wouldn't be KVR without someone adding some pointless snark, would it?

It's the artistic equivalent of penis envy.

Petulant and a prick I may possibly be, but my query was from a *professional* sound designer to my peers. I got professional responses from the only people who matter.

Ed

[RTaylor]

Noise collage

[DonM]

This Fall I did an original score for Long Day's Journey Into Night - which is approximately in a similar time. I used string quartet as my palette and developed a theme through the inter-scene moments. I was also the Sound Designer for the production and was able to blend a Foghorn (one of the important sonic elements in the play) with the quartet in pitch management - sounds hoaky but was very effective IMHO and that of the audience.

-D

[stayne]

Listen to the old Soupy Sales TV show theme song for ideas.

Scroll down here, first sample:

http://www.rhinohandmade.com/browse/Pro ... umber=7747

[TexasMusicForge]

Don and Mark:

Some very spot-on suggestions and thank you for the input.

Mark: Soupy's son Hunt lives here in Austin and is active in the music community. I used to love watching reruns of that show and haven't thought of it in years. I'll check it out and thanks.

Don: The idea of blending an SFX cue into an existing musical bed through pitch and mixing is *really* intriguing. This might dovetail nicely with RTaylor's suggestion about a noise collage. I have clock sounds, a record player and street noise cues which already exist in the script. Hmmmmmm......I owe you a beer for that suggestion if you're ever in Austin. Gracias, companero.

I've recently gotten a bass harmonica from an e-bay auction for pit band work in a production of "Big River" which closed last night. I've been thinking it might make a really unique instrumental voice for Glass Menagerie. Now if I combine that with some of the street and traffic noise cues, I think I might owe Don some chips and salsa to go with that beer.

One of the reasons I hung this question in this forum was to see if any other working sound designers are in the neighborhood. I'm really pleased to see I'm apparently in excellent company. Thanks again, y'all, and I've still got another two weeks until we start intensive rehearsals if anyone has any suggestions.

Best regards and much respect,

Ed
Austin, Texas
Land O' 10,000 Guitars and 1 Bass Harmonica

[sonarman]

I write music and sound for theatre in London. My advice is to make sure that you keep in contact with the Director. In the past, I've spent hours creating complex music and sound for scenes that were cut in the last week of rehearsal. This may sound strange but don't forget to use silence. Often a director needs to be told that they don't need any sound or music for a particular moment.

[TexasMusicForge]

I write music and sound for theatre in London. My advice is to make sure that you keep in contact with the Director. [SNIP] Often a director needs to be told that they don't need any sound or music for a particular moment.

Sonarman:

Thanks - I've run into the same situation with Directors who offer no more musical guidance than "I'll know it when I hear it and that's not it" after I've written half of a score. What? You too? I've worked with this particular Director before and have fortunately earned a level of trust and carte blanche.

I believe I'll be gigging in London sometime in March as part of a European tour with the Austin Shakespeare Festival. We're touring a musical production of "As You Like It" which incorporates snarky musical quotes from everyone from Bo Diddley to Queen to Abba, plus a dozen songs I wrote using Shakespeare's words. Contact me off-list if you've got any productions going in March I should check in on while we're there. We're supposedly doing one or two shows there before going on to Prague.

Cheers,

Ed