![]() ![]() He also writes from a strong sense of perspective. It’s just sort of hinted at throughout to where where we’re getting to in the story. ” With this happy accident, he then took “that texture to bring in this melody that you don’t really hear right until the end. But when they were played 15 times you just get that twang going over and it sounded so beautiful. “There’s this one note in my terrible mandolin that twanged out incorrectly. “I think I played like 15 different interlocking mandolin parts or something that create a texture,” he recalls. “I hate math,” he says, but “there’s a lot of satisfying maths behind it.” One example is “Bin Night,” with its themes of repetition, change, and the phases of the moon. With his own compositions he’s drawn to interlocking, self-referential structures. I keep blowing the budget, it’s terrible.” ” He cites a few examples - “Camping,” “The Creek,” and the remarkable “Sleepytime” - where scoring became a “big combined effort with a number of different composers, myself, and lots of live musician. It’s just because we get to these big tentpole episodes and we go way beyond what we’re supposed to. ![]() “We have plans every beginning of every season,” he said, “and by the end it’s just chaos. “We’re kind of making it like it’s a short film.”īush leads a team of fellow composers and musicians through a hectic schedule that often sees him composing late into the night, when there are fewer interruptions. “I think what we do is usually pretty different to a lot of kids’ shows because each episode has its own musical score that’s unique,” he says. Odd time signatures are just one reason the music of Bluey stands out from what Bush calls the “‘blinky’ genre of kids’ preschool music.” Whereas a show like Cocomelon will reuse a few melodies over and over again, the soundtrack to every episode of Bluey is bespoke. ![]()
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |