Scoring To Picture
I specialise and love scoring to picture. In the last ten years I've composed thirty-three episodes of UK Drama, and made more than twenty hours of factual, scientific and historical drama for the likes of National Geographic Channel, as well as short films, including the award-winning "Divine".
TAGGART
Scotland’s crime drama is now in it's 25th season. It is broadcast on the ITV Network and is sold across the world to around 90 countries. (UK viewing figures approximately 6 Million when broadcast ). I'm proud to be a part of this - the worlds continuously longest running television cop show.
why I love scoring to picture
I carry out every single job with a completely clear mind and watch and listen out for what the directors and producers are looking for before I say anything, unless they are looking for me to assist them. If I feel there's something extra special I can add I will also submit these ideas for consideration. And it's no problem if these pieces end up on the cutting room floor - It's a part of the job that you have to get used to - even if you feel it was your best work. Composing in the modern world for any type of media is all about giving people what they want. Some people may feel this is giving up their artistic integrity. But as far as I'm concerned I look upon it as a challenge, and I can safely say, when I deliver well it makes me feel great.
I always maintain a policy of keeping the music sounding fresh (but keeping within certain limitations when working on a series) and constantly keeping an eye on how each scene progresses and changes, by picking up on all the different nuances of dynamics, emotions, atmospheres, surroundings, characters, situations etc. as they continually evolve. And my job is to reflect those changes in the music as it happens. Even when actors deliver lines, they use a variety of expressions and as their moods change, so the music must follow. Having said that when themes are used, sometimes the same theme or adaptation of the theme can be used elsewhere. In fact I've scored many themes which sound, for example, upbeat and invigorating one minute, and the director has inquired about using the same theme but changing to suit a very melancholic moment.
For more information and to make an enquiry please go to the contact us page, thank you.
-----------------------------------------------------------------------
More about Paul's Music
I quite often start the creative process at my Chappell grand piano...
I then spend most of my days here using a multi-screen set-up in my studio...
...and the final mix goes to DUB 1
My styles of music vary from the soft and gentle genres of chilled and emotive to rock, jazz, pop, operatic, orchestral (melodic, thematic, muted, or even mayhem) - and cross versions of all the above and more, not to mention the various regional variations too, i.e celtic, american, african, far-eastern, russian, aussie, whatever... There are various clips across the site, which will give you a good idea of my range of styles.
I keep an open mind when creating music. Unless limitations are required (and are respected for clients) - I will unleash something you've never heard before!
Something you probably don't know: when I was only 11 years old I was a soprano soloist for the Scottish National Orchestra Choir. I performed with them in many places including a televised BBC Proms live!
I was asked to copy "The clown on the Eiffel Tower" for the award winning film 'Divine', where rights to use the original sound recording were not granted - click on the play button to hear Paul's version.
What goes through my head when I compose to pictures?
Here's a typical evolving scene, which links immediately into something completely different. For example: You see a couple taking a stroll in the park. They're looking lovingly at each other- all of a sudden something horrible happens - I'll leave that part up to your own imagination - then straight after that the director cuts to an action sequence. The music has to suit each part, following the story as it unfolds and then changing entirely for each mood sequence. In this case, starting off by focusing on the couple and the love they have for each other or whatever they might be discussing. Then just before that 'horrible thing' happens - I'll let you into a trick of the trade that I use sometimes- I let the music settle, making the viewers feel warm and comfortable, giving them a second or two to reflect upon the lovers, and then comes the part your not expecting! 'WHAM', the music gets everyone jumping off their seats. The small gap between the two pieces really enforces the shock of whatever happens next. And no sooner after that we're off chasing someone else - so while the heart beats are still up I reinforce this next scene with extra pace usually driven with dramatic theme, which again has to follow what’s happening. I love using dynamics in music - letting the music intensify at just the right moments. I quite often get quick cuts from chase scenes cutting to the murderer about to slay his next victim, This can go back and forth as the cops are desperately trying to get to the victim in time (Taggart 94 - Homesick shown Monday 8 December had a scene at the end just like this)- here the music has to speak in many ways defining the differences between the chase edits and then the evil behind the murderers plot, and so on . But it's worth pointing out it's not always necessary to have music continually playing through each scene. Some directors I've worked for prefer to highlight certain parts of each scene, whilst others ask me to build and keep up the momentum - it all depends on how the story is being told and how the director/producers feel the music should be portrayed...The drama shows I've worked on don't use continuous wallpaper music, so the longest single music cue I've done to date is an eight minute piece that covered quite a few scenes. And I loved doing every second of it!
So these are some of the reasons I find composing to film so much fun! A director friend once told me "less is more, unless more is more". I was relating this story at a review when the dubbing mixer quickly added to this from behind his mixing desk "more or less". I think those words pretty much sum up my experiences of composing to pictures, hence the reason for adopting the quote in it’s entirety.
"Less is more, unless more is more, more or less"
-Paul Stirling Taylor-
