Gossip - The gossip section is bombastic and intensely orchestral. To underscore this, the music becomes more dissonant (with a Db note thrown into the celesta and mellotron choir + flute and the thumb bass hitting a C). As the realization dawns on her that she is getting married so soon, Daphne has a semi-concerned expression on her face. The music gracefully moves between the C major and Eb major chords (a pretty drastic change, highlighting the upending nature of the situation. The celesta, piano, tin whistle, cajon, egg shaker, darbuka drum and suspended cymbal make up this texture. As such it feels more airy and light and complements the narration and dialogue as Daphne details everything that she needs to do. I specifically didn’t want a lot of music in this section, to highlight the awkwardness of it all.īride - This section purposefully does not have a lot of bass. You can just the egg shaker as Prince Friedrich awkwardly walks into the room. The overall feeling is a crescendoing jubilation ending with shock (when the Queen reads that her nephew is not marrying Daphne Bridgerton).ĭuke of Hastings - At this news, the score basically breaks down. I laid down the drum beat and added in the distorted e-piano, in addition to the harpsichord, grand piano and celesta. Underneath there is a Repique de Mao drum and an Open Tambourine.ĭiamond of the Season - This was actually one of the first sections that I began officially scoring. I throw in a harpsichord that plays a period-style solo and further shows the blending of classical and modern in the score. Pause - When she asks the man about the gossip publication Whistledown, the music becomes more sparse. There is definite tension throughout this entire opening sequence, and the music is showing it through subtle dissonance. The melody clashes with the basses (who are playing in the C minor key with an Eb), and this is the point. It is played by the Celtic Tin Whislte, LABS Micahs Choir and the Mellotron. Man Running - The main melody kicks in as she begins to talk about the wedding plans. All of this sits together to demonstrate the Queens awesome presence, her lavishness, her adorable dogs and the opulence and grandeur of her palace. It uses the suspended cymbal, toms and tenor concert drum. On top of the drum kit, there is also a rhythm from the European Folk Kit (from Logic). I did a mix of three different bass sounds to create the layered bass choir. I used the LABS Drum Kit and laid down a simple groove with a lot of drive and momentum. The Mellotron Choir acts as a driving force playing a simple C major chord, leading into the next section. Opening Title - Over the opening titles, I add in the Mellotron Choir (from Logic), the Surdo and Zabumba drums (from the Logic Latin Kit) and Tubular Bells. This is the first sense that the score is going to have a modern twist (much like the show itself). They are playing a period-style chord progression that leads into the Planet Fuzzy E-Piano cutting through the texture. If was from this map that I truly started to score.Ĭold Open - A collection of string tremolo samples from Spitfire Studio Strings (Celli (6), Bass (4)) as well as the Spitfire LABS Frozen Strings Cello. Each of these markers signaled a change in the music in some way. Using the markers in Logic, I mapped it out as such: Cold Open - Opening Title - Queen - Man Running - Pause - Diamond of the Season - Duke of Hastings - Bride - Gossip - Sisters. Now that I had gotten my feet wet, I decided to map out the score formally. The moments where the score is big and exciting, and the moments where it is sparse (or entirely quiet). In addition, the general feel of the demo still translates to the final piece. The most important thing was mapping out the feeling of the scene, and this demo definitely accomplished that. While this definitely doesn’t sound like the final version of the score there are some elements that did influence what I wrote later. I started by loading up a Logic project and playing the CFX Concert Grand piano to the picture. In total it was probably around 3 hours of work. In the end, I composed a modern-sounding score with mellotrons, a drum kit, bass and distorted synthesizers and mixed these elements with some early 19th century period instruments like harpsichord, strings, tin whistle, celesta, and fit in other percussive elements and some fun additions. The scene from Bridgerton comes from Episode 5 of the first season of the show, and involves a number of characters and plot points and moving parts, all revolving around the engagement between Daphne Bridgerton and the Duke of Hastings. I participated in the 2020 version of the competition, which involved scoring a scene from the show “Westworld” ( you can read about my scoring process here). This past week, I posted by submission for the 2022 Spitfire Audio Bridgerton Scoring Competition.
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