The Turtle Lope Chord: Thomas Newman's Polychord in Finding Nemo

This segment explores the fundamental concepts of consonance and dissonance in music. Consonance refers to the relationship between two sounds that produces pleasantness, satisfaction, and stability, while dissonance creates unpleasantness and tension. The presenter explains that intervals (the distance between notes) can be harmonic (notes sounded simultaneously) or melodic (notes sounded in sequence). The human ear universally recognizes three primary consonant intervals: the fourth, fifth, and octave. These intervals are closely connected because a fourth plus a fifth equals an octave (4/3 × 3/2 = 2/1).

Consonance describes notes that sound harmonious together, while dissonance describes notes that sound jarring or unpleasant when combined. A labeling system uses capital C for very consonant, lowercase e for mildly consonant, capital D for very dissonant, and lowercase d for dissonant. Intervals exist on a spectrum from 100% consonant (perfect unison/octave) to 100% dissonant. The general order from most to least consonant is: P1/P8 > P5/M3 > m3/M6 > P4 > m7/M2 > M7/m2 > d5. While some relationships are absolute (P1 > m3, M3 > m3, P5 > m6/M6/m7/M7), the exact placement can be subjective based on individual perception.

Consonance and dissonance are the two fundamental elements of classical harmony, where consonance creates a sensation of rest and stability while dissonance creates movement and tension; consonant intervals are those where notes complete each other (perfect consonances: unison, perfect fourth, perfect fifth, octave; imperfect consonances: major third, minor third, major sixth, minor sixth), while dissonant intervals are those where notes do not complete each other (neutral dissonances: augmented fourth and diminished fifth/tritone; soft dissonances: major second, minor seventh; strong dissonances: minor second, major seventh), with the classification of intervals as consonant or dissonant varying across historical periods and musical styles.

Consonance and dissonance are fundamental concepts in music theory. Consonance creates pleasant, harmonious sounds when notes are heard together, while dissonance creates unpleasant, clashing sounds. These concepts are highly subjective and vary across musical cultures and historical periods. Harmonic intervals (notes heard simultaneously) are classified as perfect consonances (unison, octave, perfect fifth, perfect fourth) or imperfect consonances (thirds, sixths). Perfect consonances have stable characters, while imperfect consonances have more mobile, lively qualities. Each interval and its inversion belong to the same consonance category.

In music theory, consonance refers to intervals that are stable and less tense, while dissonance refers to intervals that are tense and unstable. Consonant intervals include unison, major sixth, minor sixth, major third, minor third, perfect fifth, and octave. Dissonant intervals include minor second, major second, perfect fourth, major seventh, minor seventh, augmented fourth, and diminished fifth. The augmented fourth is created by raising a perfect fourth by a half tone, while the diminished fifth is created by lowering a perfect fifth by a half tone. These intervals are fundamental to understanding musical harmony and tension.

This segment covers chord voicing and how chord notes are distributed among different instruments. The bass instrument may take the root note while other instruments take higher notes. This distribution creates a balanced sound with proper bass foundation. The segment explains how different instruments have different optimal ranges for different chord positions, and how the voicing affects the overall sound and balance of the ensemble.

Voicing refers to how instruments occupy different frequency ranges to avoid muddiness. In a typical ensemble, the guitar focuses on mediums and upper mediums, the piano spans approximately 6 octaves covering the full audible spectrum, and the bass provides foundation in the lower registers. When multiple instruments play the same chord in the lower register simultaneously, the sound becomes indistinct and muddy due to overlapping frequencies. The fundamental rule is to avoid having all instruments play complex chords in the grave register at the same time. Instead, instruments should occupy distinct registers: guitar in mid-range, piano across wide range, and bass in lower registers. This distribution allows each instrument to be heard clearly while covering the complete harmonic spectrum.

Chord voicing refers to how notes are distributed across fingers. Professional pianists can be distinguished by their ability to clearly articulate each voice within a chord. When all notes are played equally, the result is merely noise; when voices are properly distributed, the chord becomes musical. To develop chord independence, practitioners should practice playing each note separately while keeping other fingers relaxed. Practitioners should also develop the ability to sing the melodic voice within chord progressions, connecting harmonic understanding with melodic expression.

Chord voicing refers to the arrangement of notes within a chord, particularly which notes are placed in which register. When voicing chords, musicians must consider the piano's range and the desired sound quality. Some voicings may sound too dense or 'muddy' if too many notes are clustered in the lower register, while others may sound too sparse. Finding the right voicing depends on the musical context and desired effect.

Music, along with color and lighting, is the tool that most strongly communicates the underlying emotion of films. Just a few seconds of music can be powerful enough to make viewers laugh, cry, or grab the edge of their seat. Musical motifs change and shift depending on what is happening in the character's story, with characters 'wearing' these melodies that change with their emotional shifts. Composers search for a single chord that can sum up their feeling for a character. Musical phrases can be designed to evoke a journey with a 'Once Upon a Time' quality, leading viewers into the beginning of a larger story. The most important consideration in music composition is how the music affects the composer emotionally. The music must make enough logical sense so the brain doesn't reject it, but more importantly, it must speak to the composer emotionally. Music can intensify emotions, and composers are fortunate when working on good pictures that allow them to put everything they know about music into the films.

A key concept in film scoring is that music should be subservient to the story, letting the story prevail. The composer writes music with the sole intention of narrative - to drive, support, and embellish the narrative, not for music to be in the forefront. Once this understanding was realized, the composer could be themselves and find their emotional connection to the narrative.

Film music has few rules because it must be appropriate to particular times and situations. Some composers view music as a storytelling device rather than merely adding another dimension. In 'The Ten Commandments,' music illustrated what wasn't visually shown—the lumbering movement of Hebrews played by Egyptian armed forces. Music is arguably the most emotional art form, reaching inside human feeling deeper than anything else. Steven Spielberg prepares audiences for emotional moments by scattering musical themes throughout films in fragments across different keys and tempos, creating anticipation for cathartic resolutions. Composers must translate drama into musical drama, understanding the film's emotional arc. When directors take over scoring, they experience insecurity because they lose control of their picture. Composers must be psychologists and translators, converting dramatic vocabulary into musical language. Directors who aren't professional musicians are actually easier to work with, as they won't suggest technical changes like key alterations for no reason.

A fundamental principle distinguishing film composers from symphonic composers is that film music serves the narrative above all else. Composers must: (1) Write beautiful music that fits within strict time constraints (e.g., a cue must fit in 33 seconds regardless of its potential length); (2) Adapt to directorial feedback even when it means changing fundamental aspects of the music; (3) Understand that their music is just one element among many in the film; (4) Educational programs emphasize this collaborative skill over purely compositional technique.

Film composers serve as emotional storytellers who guide audience feelings through musical manipulation. Techniques include using diverging musical themes to represent character separation, incorporating culturally authentic instruments (like the Mongolian Morin khuur for destruction themes), and designing fantasy instruments that reflect character cultures. These methods transform abstract emotions into tangible musical experiences that enhance narrative understanding.