When adapting a novel or story with many characters for a play or movie, keeping all of their separate situations moving along can be quite the juggling act. I have watched a few miniseries adaptations of great novels this summer. I particularly paid attention to how the screen writers kept trying to show the actions that were happening concurrently with different characters while carefully balancing how the main plot was moving along. Had these scenes not been edited so deftly, the movie could have been quite a jumbled mess. It struck me how important music was to helping keep all of the separate story arcs understandable, especially during the parts with little dialogue.
"Leit motives" are bits of music with very recognizable melodic stamps that are used to support and develop a situation, or a character and the character's thoughts and actions. Take for example in the 1995 version of Jane Austen's "Pride and Prejudice" a memorable motif is used for the Mr. Collins character. It is played by the bassoon in a rather comical style. The music supports how pompous Mr. Collins is. Even before we see Mr. Collins in the scene, we get an idea of his character because of the music. Leit motives can be used in little bits or more developed phrases depending on what the action or mood of the scene requires.
"Leit motives" are bits of music with very recognizable melodic stamps that are used to support and develop a situation, or a character and the character's thoughts and actions. Take for example in the 1995 version of Jane Austen's "Pride and Prejudice" a memorable motif is used for the Mr. Collins character. It is played by the bassoon in a rather comical style. The music supports how pompous Mr. Collins is. Even before we see Mr. Collins in the scene, we get an idea of his character because of the music. Leit motives can be used in little bits or more developed phrases depending on what the action or mood of the scene requires.
One very important love theme was used to heighten the emotions in the miniseries "Sanditon." This violin liet motif was woven through and into other music helping the audience know the inner thoughts and workings of the hearts of the two main characters. It was filled with longing and sadness due to the drawn out problems of the plot. Eventually, this love theme is developed to a happy climax when the characters come together in the end.
In my work writing for Children's Theater, I have had to keep things very simple. Use of underscoring or leit motives is probably not a good idea for several reasons. Timing - young kids have a hard time judging how to make saying lines, doing actions, or dancing fit within musical constraints. Volume - So often the sheer volume of the music will drown out the small voices. Complexities of the Script - there shouldn't be any. It's hard enough for a young cast to interpret a very straightforward plot line.
So I have just used portions of the songs as incidental music to transition from scene to scene. Not truly leit motives, but in the same vein, nonetheless. Seems to work out well enough.
So I have just used portions of the songs as incidental music to transition from scene to scene. Not truly leit motives, but in the same vein, nonetheless. Seems to work out well enough.
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