SOUTH INDIAN CINE MUSIC DIRECTORS – TAMIL - [OLD VERSIONS] -- III MUSIC DIRECTOR’S ROLE II

SOUTH INDIAN CINE MUSIC DIRECTORS – TAMIL - [OLD VERSIONS] -- III

MUSIC DIRECTOR’S ROLE   II     

RE-RECORDING

For reasons of convenience, I reserve ‘Song- composing –recording’ aspects to  a later point ; for now let us consider aspects of re-recording or BGM [ Background music ] score, which amplifies the impact value upon a viewer. Sans those musical scores, any movie would be a bland diet devoid of tickling the palate. BGM scores have to be judiciously employed; at times total silence can make a huge effect in place of crisscross play of musical notes. That is the reason why, astute MDs get themselves armed with complete details of twists and turns along the course of the movie, just to lend a musical support at places of significance.

Normally a BGM work schedule may last for 2 days each of two shifts. By late evening on day -2, the movie is generally ready for further steps. The old method of sound registration on films was by registration of optically printed lines along the side of the film. As a movie film is run through the projector in a cinema hall, these optical densities are converted to Audio values brought out by amplifiers in the theatre. I do not know the present system of audio incorporation on to the video image record.

For BGM sessions, generally the entire orchestra under the MD concerned is made available for recording. First the MD, in the company of the Director of the movie watches the footage for 10 -15 minutes. In all places where the MD requires clarification, the scene is ‘stopped’ and the Director explains the effect needed. The MD formulates an idea and asks the team [orchestra] to note down the required playing of instruments and for how long. Very smart MDs quickly fix-up the BGM scores for the 10-15 minute stretch; in the next few minutes, instruments are played in the suggested sequence and simultaneously recorded on to the ‘on-going’ film. Normally MDs select 10- 15 minute stretches   so that with fresh memory they can fix up ‘emotionally congruous’ musical scores to fortify the scene by musical back up. Mind you, the MD has to emotionally integrate self with the movie character, to be able to  ‘plan and execute’ the correct combination of instruments for a ‘tell-tale’ effect. Normally, in movies emotionally disparate situations may have been aligned in sequence, as a strategy of sustaining the  tempo of the storyline. Since the MDs watch the final version in footage, they have to cope with the presented visual for planning the musical scaffold. Sometimes just the foot step, strokes are played on string or percussion as a strategy of ‘interpretation’. 

At times a popular song from that movie may be played by one or two instruments just to indicate the present ‘fate’ of the characters involved. In certain thrillers, human voices are used as back drop chorus in different tonal values to enhance the value of uncertainty or ‘suspense’.   On such situations, members of the orchestra and the MD too may lend their voice for chorus. These decisions are arrived at, as and when the footage is critically weighed for the necessary musical ‘build up’.

There are sentiments among MDs in working for BGM. I know one MD who preferred to initiate BGM work on reel no 5 and later used to fill up 1—4. The same MD had a knack of working typical of him. Though he preferred certain instrument players, at times in order to oblige the movie release schedule, work may have to be completed with the available players. On such occasions, knowing their potential, the MD used to provide ‘notes’ with which the person could comfortably execute the plan. If the presence of a specific artiste was absolute necessity, then recording of other stretches would be done and the gap filled later with the right expert. Other problems that the then MDs had to surmount was hectic schedules of work prior to festivities like Deepaavali, Pongal or New year [Tamil/ Telugu/  Malayalam] and so on. We gleefully enjoy music without an iota of ‘concern’ for the toil of persons on the job even for a split second!

To continue

Prof. K. Raman