Cloud Time-lapse and Nature Film Score скачать в хорошем качестве

Cloud Time-lapse and Nature Film Score

This is a film I made by compiling a bunch of different shots together that I took over the last year. The music is inspired by the rolling clouds, and I based most of the score off of the first ostinato you hear in the beginning. Be sure and wear some headphones for a better experience! ------------------ VIDEO NOTES: The shots were taken with my phone and a drone. They were gathered on different hikes, ski-outings, and camping trips in Casper, Buffalo, and Jackson, Wyoming. The cloud time-lapses take between 20 and 40 minutes each, depending on the intervals that I set to make them, usually about one shot every 5-7 seconds. As for the critters, there are three deer, two fish, one elk, one marmot, one hummingbird, one pelican, and a gaggle of geese that I managed to snag. MUSIC NOTES: I was very inspired by seeing the complex motion of clouds, so that is where I began. When you look at these time-lapses, you discover that clouds are constantly rolling, unfurling, breaking, changing, chasing, absorbing, shifting, never-settling...it’s almost an illusion in slow-motion to the naked eye! This served as the basis for the introduction. The music opens with an eight-note ostinato that is unison in the harp and piano. I chose a lydian mode, which sounds very… “sky-like” to me…? I use these notes as the fabric for development later, so I will just refer to them as the “cloud ostinato.” Soon after, the flutes begin a series of four melodic cells that weave in and out of the ostinato, in which case the rest of the woodwind section begins to “follow the leader” with these same four cells, but displaced on different beats. The musical result, to me, sounds like clouds rolling, unfurling, breaking, changing, absorbing, etc. As the woodwinds continue chattering away, the strings begin to float a melody over the top of the ostinato, sort of like watching clouds slowly roll by in the summer. I will call this the “rolling melody.” (To simplify this, just think, “nice-sounding stuff over busy-sounding stuff”). Here, we have a representation of both clouds in a time-lapse, and clouds to our normal eyes. When the time-lapses finally end, we enter into some new material with clips of autumn. The ostiano is simplified from seven notes to one, and we begin new harmonic content with the colors of fall. My goal here was to write something both cozy and somewhat chilly at the same time. We shift keys and modes here, which just simply means that the music is changing colors, sort of like colors change in the seasons. This section doesn’t last for long, just like fall doesn’t stick around in Wyoming! As we move from autumn clips to the water scenes, the one-note ostinato is retained with a “folk-like” melody introduced in the flute section. I will just keep it simple and call that the “folk melody.” I wanted something to sound like an old song about rivers and mountains that was passed down from a long time ago, something that always comes to mind as I am hiking along these areas. This melody also gave me a chance to build in dramaticism as the shots became more interesting and bold. As the music climbs over a “false summit” with the piccolo solo and shot of the deer, we then are taken to some sweeping views of trees. This is important! I took the original cloud ostinato and put it in the high strings, but retained the folk-like content over the top; we are starting to connect musical material together here, even if you don’t notice it at first! Now things really start to take on the mindset of our cloud friends in the sky. When we move to some brief shots of wildlife, the ostinato is broken into new variations and completely absorbed in all of the string section. Whereas the basses, celli, violas, and violins had either melody, harmony, or at least some form of the ostinato before, they now chatter away like the woodwinds were in the beginning! This means that the melody is traded to the winds; we hear the first “rolling melody” in the brass, then is answered with fragments of the “folk melody” in the high woodwinds. Both are over the commotion of the strings. It is “nice-sounding stuff over busy-sounding stuff” again, but just morphed into new sections! As the video changes clips quickly, everything you hear is completely derived from the ostinato: I took the notes from this eight-note pattern and created some cluster chords out of it to build some tension as the video nears the end. When we reach the sunset footage, we hear some completely new material, for sake of variety. However, as we reach the final moments, the cloud ostinato comes back in two more ways. First, the low brass use the first four notes of the ostinato as a way to march the music to a stopping point; second, on the last chord, the trumpets play these first four notes again, which is answered by the horns to finish the film. With these final notes, we ended where we started, but in a much different form than we had in the beginning. Just like clouds.