The demand for immersive storytelling in film and television is encouraging sound professionals to innovate and push sonic boundaries. And as the need for this talent grows, Associate Professor of Instruction Pierce Gradone wants to make sure Northwestern’s MA in Sound Arts and Industries (SAI) students are ready to respond.
A few years ago, Gradone began teaching Composing for the Screen. The course introduces undergraduate and SAI students to the basics of film scoring.
As more students wrapped up the course, their curiosity grew stronger—they wanted the opportunity to learn more. Soon, they were asking for a second class to take a deeper dive.
“I was more than happy to do that for them,” says Gradone.
Composing for the Screen 1 Lays the Foundation
His first Composing for the Screen course is designed to allow students to engage with the curriculum even if they have no knowledge of or background in technical music.
With each lecture, there are three topics he aims to cover:
- Music, including theory and concepts like the relationship of image to sound
- Composition, including introductory techniques behind writing music
- Composing for the screen, which explores how music enhances visual storytelling
To help students start the class off right, the first assignment is one they can all feel good about accomplishing, Gradone says.
He shares a score-less clip from a 2014 horror movie, along with several excerpts of contemporary classical music. From there, students use that library of music to put together a temp track to support the scene.
Building on the experience, Gradone then moves on to asking students to write their own music. After discussing basics like harmony and rhythm, they create an action score using percussion only. From there, the work becomes incrementally more challenging: writing a dramatic scene with piano, for example, and having discussions about orchestration and instrumentation.
“As I continue to teach the course every year, I learn to be even more strategic in how I stack and layer these lessons so students can build their confidence,” he explains.
The final class project involves the creation of a three- to five-minute scene of any genre.
Composing for the Screen 2 Takes Scoring to the Next Level
While the first course is driven by foundational principles, the second course—Composing for the Screen 2— is a workshop-style course that takes a more elevated and hands-on approach.
Students act as composers, learning advanced techniques in scoring while they work collaboratively with filmmakers at Northwestern who serve as directors. A speed-dating-style event helped Gradone pair students based on styles, skills, and preferences.
The experience is especially beneficial for senior-year film students who create a film over the span of the year. By spring, he says, they’re in post-production, which is when scores are written. It’s also a good opportunity for film students working on funded independent projects and writers who are studying film production.
“Everything from Composing for the Screen 1 leads up to this, preparing students to work with directors,” explains Gradone. “Instead of them making all the choices about what they’re working on, which they were able to do in the first course, Composing for the Screen 2 gives them the opportunity to work to meet a director’s specific vision and aesthetic.”
Alongside these professional experiences, Gradone also brings more detail into his lectures, such as exploring the differences between composing with digital sound libraries vs. with live musicians.
“The course exposes students to a different way of working, it gives them time to compose, and it helps them understand how much time that work can actually take,” he explains. “Composing is not a time-efficient process, and it’s helpful to know that early. You can’t cram for a composition the way you can cram for a music history exam. I’ve spent three hours working on one measure. But it’s never time wasted.”
Developing the Expertise to Succeed in Music in Film
When he sees talent and ability, Gradone does his best to foster it. “I love encouraging and helping students identify what’s working and what isn’t to help them build confidence and skills.”
The best part about being able to teach students about composing for the screen? Watching them go on to work on exciting projects of their own.
For example, several SAI students are partnering to launch a videogame sound company, providing scoring and sound design.
“In this program, and even across Northwestern’s campus and throughout Chicago, students get to engage with such a wide variety of artistic and technical experiences. This course only adds to these opportunities.”
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