Drawing upon my research and creative exploration, I aimed to apply my developing production skills to craft an underscore that was both emotionally resonant and immersive. Although improvisation and spontaneous melody creation are typically my strengths, this particular project required a more deliberate and focused approach. After an hour of exploratory composition on Logic Pro X, I chose to reinterpret La Bella Lavanderina, using elements of its deconstruction as the foundation for the underscore.
I first identified the section of the narrative most appropriate for underscoring: a pivotal two-minute monologue in which the protagonist, Altaluna, reveals the truth behind her murder. This moment—delivered without any accompanying sound effects or soundscapes—offered a blank sonic canvas, allowing the score to subtly shape the listener’s emotional experience without competing elements.
For the base layer of the score, I selected MIDI Clarinets. Initially, the melodic line lacked the emotional intensity I was aiming for. To address this, I experimented with articulations, ultimately assigning a unique articulation to every note to avoid sustained tones. The final articulation sequence was: Fall Short, Glissando Down (x3), Fall Short, Glissando Down (x3), Fall Long. This variety introduced essential dynamic movement and tension. The repeated downward glissandi metaphorically suggest the truth gradually descending upon Altaluna, like a creeping shadow—capturing the emotional weight of the scene.
To deepen the sonic texture, I layered in MIDI Basses to complement the Clarinets. I opted for triadic chords, carefully staggering the attack of each note to create a swelling effect.
This avoided the mechanical abruptness sometimes associated with digital instrumentation, instead delivering a smoother, more organic progression. The choice of Basses added a grounded, soulful quality that anchored the underscore emotionally.
Further refinement was achieved through articulation choices. Specifically, I replaced a Legato articulation on the bottom G and the top D of the bassline with Tremolo. This subtle modulation introduced a sense of realism often missing from MIDI playback. Tremolo articulation replicates the slight, natural variations in a live performance, contributing to a more human and emotionally authentic sound.
At this stage in the composition of the main underscore, a compelling emotional layering begins to emerge, driven by the piece’s multimodal qualities. Each newly introduced instrument or motif contributes a distinct affective colour, creating a dynamically shifting emotional palette. This aligns with Juslin and Västfjäll’s (2008) multi-mechanism framework, which posits that emotional responses to music arise through multiple concurrent channels—such as emotional contagion, episodic memory, and musical expectancy. In the context of this piece, the gradual build-up and variation of texture and articulation engage these mechanisms, allowing the listener to interpret and internalise emotion on both a conscious and subconscious level.
While emotional perception in music remains inherently subjective and open to multiple interpretations, the underscore, as it stands, evokes in me a complex amalgamation of emotional states. Rather than portraying a singular feeling, it reflects a coexistence of contrasting affective tones—both ‘positive’ (e.g. empathy, hope, relief) and ‘negative’ (e.g. sorrow, tension, regret)—which are experienced simultaneously.
This emotional ambiguity enhances the underscore’s expressive potential and mirrors the psychological nuance of the narrative itself. Ultimately, the result is a musically driven emotional experience that supports narrative immersion while also inviting personal resonance from the listener.
Bibliography
Juslin, P.N. and Västfjäll, D. (2008). Emotional responses to music: The need to consider underlying mechanisms. Behavioral and Brain Sciences, [online] 31(5), pp.559–575. doi:https://doi.org/10.1017/s0140525x08005293.
Leave a Reply