Lesson video

Hi there, everyone.

Welcome to today's lesson on Film Scores: Habitats.

This is from our Compose and Create unit, where we're looking at nature documentary inspired film scores.

My name's Mr. Croughan, and I'll be guiding you through today's lesson as we look and listen to a variety of film scores and start to create our own.

Are we ready?

Let's begin.

By the end of today's lesson, you'll be able to say that you've composed a motif and you've used that to begin scoring a nature inspired film score, considering firstly, the habitat in your narrative.

Let's begin then by looking at today's keywords.

We're gonna start with film score.

A film score is an original piece of music composed to accompany a film or a television program that contributes to the narrative by adding emotion, tension, or drama.

And then a soundtrack.

This is a recording of all the songs and music used in a film or a television series.

Habitat, an environment or place where an animal or plant normally lives.

Scoring, creating original music for film or television that enhances the narrative.

And then a motif.

This is a short, recurring musical idea in a film score, and it might represent a place, or a character, an emotion, or an idea.

We know that we're gonna do much better in our music lessons if we're warmed up, focused, and ready.

So we're gonna begin by warming up our minds so we can listen and concentrate on some new learning.

It's gonna help us work together, too.

We warm up our bodies a bit so that we can play.

We're gonna move together, be relaxed, playing instruments with more success, and if we warm our voices up, that prevents us from any injury and develops our singing skills, too.

There are three warmups coming up.

The first one is called meter mix-up.

This involves you listening and responding carefully.

So, I'm gonna play the video.

You will watch someone who is clapping and tapping and calling different numbers.

As soon as you spot what it is they're doing, I'd like you to join in.

You can always pause the video and play again.

Are you ready?

Find a space by yourself.

Here it comes.

<v ->Join in with me and watch for the changing numbers.

</v> I'll count with you to begin with and then I'll drop out.

1, 2, 3, 4, 5, 6, 7, 8.

1, 2, 3, 4, 5, 6, 7, 8.

5.

3.

7.

2.

6.

8.

5.

2.

4.

7.

3.

8.

6.

4.

<v ->Great, very good focus and concentrating.

</v> If you picked that up quickly, you are absolutely marvelous.

Well done.

The next one is telephone song.

This has got a wonderful tune to it.

I'm gonna play you the clip.

You don't have to watch it at all if you don't want to, but I would like you to assemble yourself so you can sing this where you are, and whether you pass it in line down the circle or pass it across the circle, it's gonna help you sing in tune and make sure everyone is focused and ready.

Are you up for it?

Here it comes.

<v ->1, 2, 3.

</v> ♪ Hey Sam ♪ ♪ I think I hear my name ♪ ♪ Hey Sam ♪ ♪ I think I hear it again ♪ ♪ You're wanted on the telephone ♪ ♪ If it's not Jacob I'm not at home ♪ ♪ With a rick tick tickety-tick, oh yeah ♪ ♪ With a rick tick tickety-tick ♪ ♪ Hey Jacob ♪ ♪ I think I hear my name ♪ ♪ Hey Jacob ♪ ♪ I think I hear it again ♪ ♪ You're wanted on the telephone ♪ ♪ If it's not Laura, I'm not at home ♪ ♪ With a rick tick tickety-tick, oh yeah ♪ ♪ With a rick tick tickety-tick ♪ ♪ Hey Laura ♪ ♪ I think I hear my name ♪ ♪ Hey Laura ♪ ♪ I think I hear it again ♪ ♪ You're wanted on the telephone ♪ ♪ If it's not Sophia I'm not at home ♪ ♪ With a rick tick tickety-tick, oh yeah ♪ ♪ With a rick tick tickety-tick ♪ ♪ Hey Sophia ♪ ♪ I think I hear my name ♪ ♪ Hey Sophia ♪ ♪ I think I hear it again ♪ ♪ You're wanted on the telephone ♪ ♪ If it's not Izzy I'm not at home ♪ ♪ With a rick tick tickety-tick, oh yeah ♪ ♪ With a rick tick tickety-tick ♪ ♪ Hey Izzy ♪ ♪ I think I hear my name ♪ ♪ Hey Izzy ♪ ♪ I think I hear it again ♪ ♪ You're wanted on the telephone ♪ <v ->Excellent, very good.

Great work.

</v> This last one, I'm gonna play you this one.

This is Tamborês O Ba Ba.

It has actions to go along with it and I would like you to listen, sing along, and add in those actions.

Eventually, you'll be able to do this with a partner.

For now, I would like you to copy what is happening on the screen.

Then, you can pause and have another go without them if you are feeling confident.

Are you ready?

Here it comes.

<v ->Ready, steady, off we go.

</v> <v ->Nice!

Very good.

</v> Hopefully now we're feeling more ready for music.

Our minds are focused, our voices are warmer, and we've had the opportunity to work together, which is really important.

We are gonna look at the two learning cycles in today's lesson.

The first one, we're gonna introduce some film scores to you, and the second one, you are going to be scoring a habitat.

So, let's begin with introducing some film scores.

This is an original piece of music composed to accompany a film or a television program.

Why would you add a film score?

Well, it contributes to the narrative.

It helps to tell that story, brings it more to life.

It can add emotion, some tension, some drama, some suspense.

All of these things the music does to support our understanding and our feelings towards the story that we can see.

Now, like program music, a film score helps to tell a story, but the two are not the same.

Jacob describes it like this.

A film score is synchronized to the film.

It supports the visual enhancing of the story as it happens.

Whereas, Lucas explains, program music tells a narrative, but that's a standalone piece of music.

It's not bound to the storytelling.

So, the film score works in time with the film.

Okay, now, that film or TV series might have a soundtrack.

Now, this is where the recording of all the songs and music are used or put together in a whole soundtrack.

Here is the soundtrack of this whole series, this TV series or this film, and it'll have all the music and the songs.

So, what I'd like to do is check that you have digested that information, okay?

You are gonna do the following.

You're gonna match the type of music to its definition.

We have A, a film score.

What's that?

B, program music.

What's that?

And C, the soundtrack.

You've got three descriptions.

Number one, instrumental music that aims to represent something non-musical, like a story or an emotion/ That could be A, B, or C.

Number two, an original piece of music that contributes to the narrative by adding emotion, tension, or drama.

Which one is that?

A, B, or C?

And then number three, the selection of music used in a film or television series.

Okay, have a quick pause and a check and then we'll see if you were right in a moment.

Very well done.

Let's check we're all on the same page here.

A film score.

This is an original piece of music that contributes to the narrative by adding emotion, tension, drama, suspense, whatever it might be.

It helps us understand that story.

That's a film score.

Program music, this can stand alone.

It's not attached to a film or anything where we might be able to see it on a screen.

This is instrumental music that aims to represent something non-musical, maybe a story, an emotion, an idea, but that program music, not tied to a film score or a TV series.

Then, the soundtrack.

You can buy a soundtrack.

You could go, I'd like to listen to the whole soundtrack of this TV series or that film, and that is the selection of music and perhaps songs used in a film or TV series.

If you got all those correct, very well done.

Back to film scores.

Let's focus in.

A film score enhances the storytelling by doing a number of things.

It helps us to understand what's happening.

It really adds to that story and helps us find out a bit more about what's going on.

It also shapes our emotional response to the story, to the narrative.

Perhaps you've watched a spooky or a scary film and sometimes that music is really adding to those hairs on the back of our next standing on end because that music is adding to the suspense or the mystery or whatever it might be.

And also, it can provide deep connections with the characters.

If that character is expressing a certain emotion and that emotion is coming through in some beautiful music, we start to feel that even more so.

It enhances how we connect to the characters that we're watching on the screen.

And it adds depth and detail to the story.

It starts to paint in, like someone painting in the details in a piece of art.

It's giving that detail, adding that depth so we really experience that story on a deeper level.

And it also draws our attention to what's important.

Maybe the director or the composer wants to really point something out and that music can really steer us towards something that's important in the story.

The Planet Earth Series is a famous BBC natural history documentary.

There were three series, first one in 2006 called Planet Earth, 10 years later, 2016, Planet Earth II, and then another seven years later in 2023, Planet Earth III.

Now, these series have won many awards for the film scores.

These film scores are really helping to add and tell the dramatic stories of wildlife right across our planet.

As I'm sure you can imagine, the documentaries tell really dramatic wildlife stories that involve plenty of tension and drama and suspense.

And that music, the film score, is really there to enhance that storytelling.

What it does is it cleverly combines orchestral sounds of those orchestral instruments with natural soundscapes.

So, things that would actually appear in nature, whether it's wind or water or whatever it might be.

And the idea is to help the viewer feel like they're really there and present in that habitat whilst really enhancing that storytelling of what's going on there.

There's a piece we're gonna listen to, it's Flight over the Alps.

It was scored for Planet Earth II in 2016 and it was written by Jacob Shea and Jasha Klebe.

The film score features in Episode 2: Mountains and it's on the soundtrack album.

Now, Flight over the Alps captures this feeling of soaring across mountaintops like a golden eagle might do.

I'd like you to listen to the first 40 seconds of Flight over the Alps.

Now, this beginning starts with kind of low in the strings and a broad melody.

It kind of sounds vast, like the mountains, you know, huge, big.

And the melody gradually rises almost as if it's kind of reaching towards the mountaintops.

You're gonna pause here and just listen to the first 40 seconds of Flight over the Alps.

You can keep your eyes open, you can close your eyes, doesn't matter.

Just get a sense of what it feels like to you.

Off you go.

Brilliant, well done.

Now, I'd like you to listen to the next little bits, about another 25 seconds after that.

It sounds as if the golden eagle is taking flight, gliding across the skies and soaring over the mountaintops.

And you hear this primarily with the violins.

Have a pause here, listen to the next bit.

See if you can imagine a golden eagle in flight.

Off you go.

Fantastic, well done.

So, that's the first minute and a bit that you've heard.

I'd like you to listen to the whole thing.

It's just over two minutes, is all it is.

This time, this is our check for understanding, I would like you, you're gonna listen from the beginning to, yeah, just over two minutes in.

Close your eyes this time if you can, and imagine what might be happening.

Let that music paint some pictures in your imagination of what you think might be happening.

There's no wrong answer.

When you've listened to it, just chat quickly with a partner.

What did you feel?

What did you hear?

What did that sound like to you?

Pick out some ideas.

Okay?

The reason why're doing this is because when we get to write our own film score, you are gonna have some really great ideas that we can lean on.

Okay, pause here.

Off you go.

Brilliant.

Really well done.

I hope you got some good ideas to share with a partner.

Fabulous.

Now, another piece, Forests.

This was scored for Planet Earth III in 2023, again, by Jacob Shea, this time with Sarah Barone.

And the film score is in Episode 5, which is called Forests, and it's on the soundtrack album, too.

This piece gives us a magical feeling of ecosystems hidden beneath vast canopies of trees.

I'd like you to listen, you're gonna close your eyes and listen to Forests.

And it's up to you.

Again, there is no wrong answer here.

This is the wonderful thing about our imagination.

It's where it takes us.

The music is a guide.

Us, individually, it's gonna be different for all of us slightly.

What sort of forest are you imagining?

Who or what do you think lives there?

And why?

What is it?

Is there something in the music that is suggesting that?

Okay, again, there's no wrong answer here.

So, I'd like you to pause.

Forest is going to play.

When you find that, I'd like you to close your eyes, just be having a think about those three points on the board.

Okay, off you go.

Brilliant, lovely.

So, now you've got some idea in your mind.

I'd like you to listen one more time.

This time we're gonna delve into the detail a little bit.

Take note of sounds you hear, specific sounds.

Doesn't matter if you can't name the instrument or the exact sound, but if you can, great, otherwise, just jot down what it sounds like, that you can hear that helps you imagine a forest habitat.

Okay?

So, pause it.

You could do a little spidergram like that, a suggestion on the board, or just jot some ideas down in your journal or whiteboard, whatever, okay?

Pause here, have a listen, and see what sounds, jot down those ideas of those sounds that you can hear that's making you feel like, yep, this is a forest.

Off you go.

Very well done.

So, you might have said things like, I heard some gentle shaking and rattling.

It was like branches and leaves rustling as animals scuttle by, for example.

Possibly that those interweaving sounds, creating that thicker texture.

You know, there's many layers of a forest, like, you might have studied the rainforest from floors up to the canopy, that kind of maybe a thicker texture, maybe you felt something like that.

Maybe there's some soft twinkling sounds.

Is that like the sunlight peeping through just through the dense leaves of the forest?

Maybe the growing dynamics, that as it was building, getting louder, did it feel like we moved from kind of close up to zooming out, and hearing or seeing rather the whole expanse of the forest.

Maybe those smooth vocals, does that connect us, humanity, with nature perhaps?

Maybe that's the intention.

Some various animal sounds that were sort of fading into the background.

Maybe that gives you the feeling that you're moving through the forest.

And perhaps other incidental sounds, like the drip-drip sounding accompaniments, almost like rain perhaps falling from branches.

Perhaps some of those ideas were similar to yours.

I imagine you had some of your own, too.

Really well done.

We are now going to move on to our second learning cycle, which is scoring a habitat.

We know just how powerful a storyteller music can be.

And in the two film scores we heard, Flight over Alps and Forests, it helped bring two very contrasting habitats, some mountain region and forest region, to life.

And it enhanced the narrative in each documentary.

That sort of its purpose and its job.

So, then let's consider a very different habitat.

Let's think about a desert.

And I'd like you to think, how might that be scored?

Would you have a thin texture?

Maybe just one or two sounds happening at the same time?

Or a thicker texture as maybe there's lots more going on?

Again, for all of these, there's no wrong answer.

It's up to you.

Do you think it has strong dynamics or is it very soft?

Does it change?

Again, that's up to you.

And whilst we don't know every single instrument in the world, we do probably have an idea of what we imagine we'd like it to sound like.

So, are there some instruments you can think of that might suit describing a desert?

Now, potentially that's instruments that are native to a desert that you've heard of possibly, or maybe it's broader than that.

Maybe it's thinking about that quality of sound based on that vast, sandy expanse that's hotter in the day and cold at night.

What is it?

You know, again, for all of these, there's no wrong answer.

It's just us thinking and feeling creative in such a way that we can start to describe that habitat with our sound.

So, I'd like you to pause here and just have a chat maybe, two or three, about how you think a habitat such as a desert might be scored.

Use those three points on the board to help you.

See you in a sec.

Brilliant.

Really well done.

Now, I imagine there are so many different answers to that and it's perfectly fine.

This is about us justifying our ideas.

Well, I think this instrument because it's gonna sound like this or remind people of such and such, whether it's dynamics changing or whatever.

As long as you can say why, this is your imagination painting the picture with sound.

So, you can't really go wrong as long as you've justified your ideas.

Very different one now, polar ice caps.

Don't know about you, I've never been to a polar ice cap.

I've seen one on the telly and that's as much as as I know.

So, when I'm thinking how might it be scored, I've got to think about its size, its temperature, where it is, the fact that in that picture, I can't see anyone or any animals.

I'm sure there are some.

I've heard about polar ice caps.

And so the information I do have is gonna help me answer these questions.

A piece, should it be with a fast tempo or a slower tempo?

Or does it change?

Entirely up to you.

Does the tempo increase or slow down?

That's for you to decide.

And do you think it would have short notes, lots of little notes, or long, more drawn-out notes?

Or a mixture?

Maybe there's many long, drawn-out notes and some little short ones.

I don't know.

It's entirely up to you.

And then, again, I'm thinking, well, I've not been there.

I don't know what it would sound like if I walked across it or just listened.

But I am thinking about how I can create that sound or that picture using music.

So, what timbre do I want?

Instruments in what kind of timbre?

And again, there's no wrong answer.

Do I want, I don't know, a big bass drum?

Or a didgeridoo?

Or a low kind of tuba brass instrument?

Or a guitar?

I don't know.

I'm thinking about the picture and what I want to describe what it feels like to me.

And so there's no wrong answer because it's what it sounds or feels like to me.

How am I going to get that idea across?

One idea you could think is, imagine someone could see that picture or maybe it was part of a film and you wanted to put that music underneath.

What would you want it to sound like?

So, pause here and use those three points on the board about tempo, duration, and timbre to help you.

Again, it's just about having a chat in two or three to think how might it be scored?

How could it be scored if you were doing it?

Off you go.

All right, brilliant.

And again, there'll be a broad range of answers and that is great.

Quick check for you, now.

I'm gonna play you three pieces of music.

Which of these film scores do you think is the best fit for a barren, icy habitat, like the Antarctic and why?

All right, gonna play each one in turn.

Here is A.

Have a listen to this.

All right, that was A.

And now B.

And here comes C.

So, then which one do you think?

A, B, or C for a barren, icy habitat?

You can pause here if you want to discuss it further.

Otherwise I'm going to reveal that we think that the answer is C.

Jun explains that the accompaniment creates a shimmering feeling, like the sun reflecting off the icy landscape.

And to go with that, that motif we hear on the piano has a drip-drop, watery feeling to it.

Perhaps you got the same, and maybe for the same reasons.

We're going to move on now.

This is a very different habitat to a desert or a polar ice cap.

This is a densely populated city.

This is the city of London.

And this time we're going to think if we were creating a score for this, would it have a busy or a simple melody and rhythm?

How busy would we like to make it?

How simple would we like to keep it?

Again, no wrong answer.

It's just you justifying why you think that.

And then do we think it would have a thick or a thin texture?

Is it just one thing happening or lots of things as a buildup over time?

Does the city ever sleep?

I'd like you to pause here, and again, just chat with a partner, whether you're keeping the same partner or three or switching, it's up to you.

But I would like you to use the idea of what sort of melody and rhythm.

Is it busy or simple?

And a thin or thick texture?

How much is going on in the music?

Okay?

And as long as you justify why, there's no wrong answer.

Okay, so pause here and do it that where you are.

And again, let's have a lovely change.

This is a habitat of a woodland in springtime.

I can see lots of bluebells.

Love going to those woods where it's packed full of bluebells, shows that spring is really here.

Makes me feel very calm.

So, how do we think that that could be scored?

Let's think this time about pitch.

Are there more high notes or low notes?

Is there a mixture?

It's entirely up to you as long as you can say why.

And then do we think strong, bold, loud dynamics or is it quieter?

And does it change?

Again, up to you.

And then lastly, what structure might you use?

Is there a recurring theme that keeps coming back, like a motif that you keep hearing?

Is it in a very simple structure?

Like, here's the first bit, here's our middle bit that's different, ad then back to the first bit again.

Entirely up to you.

Think about how you might structure the piece, when we're thinking about our high notes or low notes, strong or soft, perhaps they stay consistent throughout, it's entirely up to you.

Importantly, those three are ideas to guide you.

I'd like you to imagine you were there and if you had to describe in sound or were scoring a film that had that beautiful woodlands in springtime with those bluebells popping up, how might it sound to you?

Okay, so pause here and have a chat about that one.

Off you go.

Brilliant, lovely.

And again, so often, there's not a a wrong answer.

And also, quite often, we'll end up with similar, not the same, but similar ideas, too.

Little check in for you, then, before we press onto our last task.

This one says which of these film scores do you think is a best fit for a densely populated city habitat?

And please say why.

Here comes A.

And now this is B.

And here is C.

So, which one do you think?

Remember to say why.

You can pause here if you would like to chat with your class, but I'm otherwise going to reveal that we think the answer is most likely B.

Aisha explains that the three-note rising motif is almost feeling modular, like brick after brick being added to buildings.

The shaker sand is creating a busy feeling.

There's plenty going on.

And also, that piano chord motif is creating a modern city feeling.

Perhaps you were able to put it into those words.

Perhaps it just felt right to you that that's the kind of sound you'd associate out of those three with the city.

However you did, very well done.

It is time that we move on because if you're going to create a film score for your nature documentary, which we're all going to do, you need a musical starting point.

Now, in film music, composers often start by composing a motif.

Now, this is a short musical idea or a set of notes that you will hear more than once throughout a piece of music.

It doesn't repeat constantly, but you will hear it more than once.

And then what happens with that?

You can adapt it and shape it using the elements of music.

So, is it gonna be played louder or slower, or at a different pitch, or whatever, right?

A motif can use any notes, but it should be short.

And we are just gonna keep to a few notes.

We don't want loads, we want a few notes because it makes it memorable.

Sam suggests whether you choose to compose music for your habitat, it needs to include a recognizable idea, this motif.

So, if it's recognizable, you're absolutely on the right track.

Now, here's the exciting bit.

You could create using a digital audio workstation, okay?

That is a computer with software that starts to make it feel like a virtual studio where you can create and layer and add sounds.

There is a video for you, as well as for your teachers, to set that up and a step-by-step guide of how to use one.

If you would like to go down that route, I'm gonna ask you to pause.

You can set this up ready.

This might be in the same lesson as now.

It might be in a different lesson.

It's entirely up to how it's being managed for you, but you'll need that time to get set up and ready.

Another option you can choose is working an ensemble.

You want four or five of you, maybe sort of table groups if you're working at that kind of size in your class, I'd say probably no more than six, because you want everyone to have a role.

And then using classroom percussion instruments or other instruments.

Perhaps some of you play an instrument, each week now when you've got music, you can bring in that instrument from home and that's another layer that you might add to your composition.

I'm going to show you two different options.

One is an example of how polar ice caps can be themed as a film score on a digital audio workshop workstation.

And then we'll have a listen to how we might create one in the classroom.

Here comes the first video.

So, that could look that way.

Then, have a listen to this.

This has been created in a classroom working as an ensemble using classroom percussion and instruments available to us.

Here it comes.

Right then, let's kick off with a true or false.

True or false?

A motif has to repeat over and over again.

Is that true or is that false?

Think carefully.

A motif has to repeat over and over again.

Is that true or is that false?

Thumbs up or thumbs down?

Up to you.

I'm going to reveal that the answer is.

It is false, and this is because, yes, it is a recurring musical idea in a film score, we will hear it more than once.

It's gonna represent a place or a character or perhaps an emotion or an idea.

So when that part of the story's being told, or in that place, or that character's feeling that emotion, whatever it'll be, we're more likely to hear that motif again.

So it will repeat, but it doesn't repeat constantly.

It's not like a melodic ostinato where we're playing it right throughout a piece or for most of a piece, okay?

We're gonna manipulate our motif in different ways and here's how we're going to do it.

This is your practice task.

You are gonna create your own nature documentary inspired film score.

This is the first thing you do.

Choose a habitat.

We've looked at some, and you might want to research it first.

So, depending on how much time you're giving to this, how many lessons or afternoons, or whatever you are spreading this over, perhaps there's time to research into your chosen habitat.

That's gonna form the foundation of your film score.

So far, we've looked at desert, we've looked at polar ice caps, we've looked at woodlands, we've looked at a busy city, we've also looked at forest, rainforests.

There's lots of ideas that we can draw on.

Perhaps you want to choose one of those habitats.

And when you've decided, you're gonna score a motif for your piece.

Now remember, the motif is just short.

Just a short idea.

Just uses a few notes.

It's simple.

And the reason for that is because that will make it memorable and it's gonna sit with us when it's revisited and you come back to it to accompany the film score.

It is heard more than once.

What we do with that, once you've got that selection of notes, think how you'll use the elements of music to make your motif represent your habitat.

What I mean by that is, if you've chosen desert, how fast or slow are you playing those notes?

You know, do they last a really long time before we hear the next note?

Do they happen in short succession?

Does more than one note happen at the same time as another?

We want it to be clean, simple.

And you're gonna think, you can put it through the filter of each of those.

How loud or quiet, how fast or slow, how high or low am I playing that?

Am I playing short notes, or am I letting those notes ring out longer?

What's the rhythm?

Does the rhythm change if I was going to explore this in a different way?

All of these things you can think about, okay?

And this might help you, to use the elements to guide you.

If you want to sort of plan it in some way, you could think about the pitch, the rhythm, and the duration of the notes and jot down, oh, I think such and such, and why.

The timbre, what do I want it to sound like?

Or do I need it to sound, I don't know, bold and and deep and with no one there, or whatever, you know?

And what sort of instruments am I going to use to create that sound, that timbre?

And then thinking of the dynamics, oh, it needs to be quiet.

Maybe it gets a bit louder here, but it's mainly quiet.

Or it runs very quickly, or it's very slow and gentle.

Up to you.

Okay?

That's gonna help you to really take that, those notes, that motif, that idea, and be able to explore it in a way that suits your habitat.

So, we're going to pause here and I would like you to think through each of those points.

First of all, choosing your habitat, doing a bit of research.

Second point, choosing that motif.

And then using those elements of music to alter that motif to fit your habitat and to really get the feel of trying to describe that to the listener, okay?

So, pause here, work through each of those, and I'll see you when you're done.

Brilliant work, people.

Well done.

Let's have a little think then how our film score motif reflect our chosen habitat.

First of all, what is it that makes it simple and memorable?

Is it that it only uses three notes or four or five?

Is it because it has a lovely shape that feels memorable to you?

What is it about it?

And does that already start to suggest the feeling of your habitat?

What kind of timbre have you chosen?

Are you gonna be playing this with low sounds?

Perhaps you're using your voice or perhaps you've created a sound on your audio workstation or perhaps you've found an instrument in your classroom that starts to speak to the feel of that habitat.

And then your chosen tempo and dynamics.

We've chosen to go quickly because it's a busy city and our dynamics keep changing as if we're walking through that city trying to get to work.

Whatever it might be, how does that reflect your habitat?

Is the tempo and the dynamics really helping?

Okay, ad then any other musical decisions you've made to reflect your chosen habitat, too.

We did this, because.

So, pause, have little reflect and a refine if you need to.

And just share some of those ideas either in your group, or if you want to share with each other, that's fine, too.

So, have a quick pause and run through those.

Fantastic, so, we're gonna keep hold of those ideas because we're going to be using them again in our next lesson.

For now, though, let's have a summary of what we've learned today.

A film score is an effective tool for adding emotion and tension and drama to a visual story.

The Planet Earth series, it's an award-winning documentary, and it highlights the impactfulness of powerful film scores.

Because if you can see that and hear that score, it brings that story to a whole nother level of drama and intensity.

Creating a motif, like you've done, that represents something in the narrative that can help us associate the sound with the visuals, like your habitat.

And then that successful motif, as we know, will be short, simple, and recognizable.

Very well done for today.

I will absolutely look forward to seeing you and building on these ideas next time.

All the best.

Bye for now.