This is a question I have been thinking a lot about over the last few days, especially thanks to a webinar I participated in hosted by Deniz Hughes. There were a lot of answers presented to this question but after much thought I came to a surprising conclusion.
Some background: I had excellent musical training as a child. I formally studied classical voice and violin, and attended a highschool, St Michael’s Collegiate, which not only provided me with an excellent music education but also had many ways to practically apply it. I participated in choir, madrigal group, orchestra, string ensemble and professionally-produced musicals. I also sang in church, in rock bands, and learned about jazz and how to improvise. My childhood was a musical playground. Then I went on to study Jazz performance and composition for my undergraduate degree at Cornish College of the Arts and received more academic music training in my masters of music degree at Boston University. I am so thankful for all of this.
But then I ventured into the world of film composition. While all of the above helped, at a times helped a lot, I don’t think they are the keys to this career choice.
What is film music? It is music in a film that supports the picture. Enhances the story. Communicates the vision of the director and producer. It has to be music that the audience – Ms. or Mr. regular non-musically educated person – can hear and immediately connect with. If they don’t connect then they are taken out of the film and the composer has failed to do their job. (Or the director has failed to direct the composer in a way that helped them be successful at their job – blame could arguably be directed at either individual).
Therefore, what a film composer must be able to do is write music that supports picture and connects with people – the filmmaker and the audience.
What do you need to be able to do that? Knowledge of key signatures? Chordal analysis? Being able to read every clef? I don’t think so. You must be able to write the right music. That is all.
What is almost equally important – maybe half a percentage point less – is the ability to be able to communicate with your director and (often the case) producer. If you cannot communicate with them enough to 1. land the gig and 2. do the gig well then you are not a good film composer. You may be a good composer but that doesn’t matter. As a film composer you have a client and a picture that you need to serve. Your musical aesthetic will weigh in (it will certainly influence what you initially pitch) but at the end of the day it may not matter. Can you write something that you don’t necessarily think works, but your director wants anyway? If you can do that, and make your director happy, then you can be a film composer.
If you can write emotive beautiful and accessible music but cannot communicate enough to land a gig or keep a gig working for a client then maybe you are destined to simply putting your music out there, like a band or a singer-songwriter. You write music and if people hear it they buy it and use it. You can also potentially do well with licensing. But to be a film composer the communication element is critical.
So what are you saying, Catherine? Are you really saying that you don’t need to know your music theory, to be able to read music, to have a knowledge of the history of music, to have a degree – all of that – in order to be a successful film composer? Exactly. Just write music that makes people Feel, with a capital F and have the ability to be able to communicate with your filmmaker so you get what they want the audience to feel so you can compose it.
I highly recommend knowing everything you can about music. Primarily because it is so wonderful! Being able to read music is REALLY FANTASTIC! Understanding the differences of the instruments, their colours, how it effects the emotion of the piece; this information will highly elevate your musicianship and give you great material to incorporate into your upcoming projects. Your filmmaker may hate it, and then you can’t use it, but it’s worth a shot! I believe every piece of knowledge you add to your proverbial musical toolbox has the potential to make you a better musician and therefore a better composer. Not only can it give you more to work with but it can also potentially help you work faster and more efficiently. Help you problem-solve your way out of musical pickles instead of relying solely on your ear. I personally do not understand why you wouldn’t want to learn theory, musician and orchestration, but there are many composers who don’t and yet write powerful film music.
I believe having the ability to do a chordal analysis of music is very valuable. I loved the Crowded House song called Amsterdam (listening to it now) and it made me feel something in the chorus. Heartbreak. Yearning. So I thought “must be a lot of minor chords” right? Nope. SO MANY MAJOR CHORDS! Happy chords, right? It was the combination of major and minor that made it so emotional, so heartbreaking, so……I don’t even know what to call it, people. It kills me. Makes my heart feel all the weird things and then starts chopping onions. Gets me every freakin’ time! And once I figured out what it was then I liked it even more. Didn’t steal the magic, just gave me the keys to create that magical sound when I wanted to.
I want to know as much as I can about music because I love it. Because I do it for a living and want as many tools in my toolbox as I can fit. But at the end of the day the thing that keeps me in business is writing something that makes my filmmaker cry. (If they’re supposed to cry – if they are supposed to laugh then….well, time to revise aggressively!)
This final cue for the film All Things Hidden came to me in a moment. I got it, I ran to the studio and out it came. It is, I think, pretty simple, and when I composed it the thought of keys, chordal analysis and clefs could not have been further from my mind. I could hear in my head what the sound was and I managed to get it out on the page. All I thought about was Dannie, driving around and coming to terms with what she had just relived. She was ready to find healing, acknowledge her horrific past, and move forward. She was finally ready for the metamorphosis. My filmmaker, Persephone Vandegrift, listened to it the very next hour in a noisy pub on her phone and started crying. If you can do that, then you have a chance to be a successful film composer. You can read more about Persephone’s experience working with me as a composer here.
P.S. This post barely covers the musical aspect of being a film composer but there is even more to consider. You are a small business owner, an entrepreneur. You have to hustle and network to find gigs. You have to be able to learn and master the technological aspects of the gig – so much more to cover in forthcoming posts. Stay tuned!
Who is Catherine Grealish?
Catherine Grealish has been a film and game composer since 2010. She has scored many films, a number of them award-winning and she won the Independent Music Popular Voice Award for Best Soundtrack for the score to the short All Things Hidden. Find out more about her work at her website or IMDB page.