“In Motion” – Trent Reznor and Atticus Ross: A Theoretical, Musical and Structual Analysis

I’ve done a quick analysis of “In Motion” by Trent Reznor and Atticus Ross from the Social Network Soundtrack. You can hear the tracks here:

In Motion

– There is some interesting rhythmic variety in the bass line, starting at bar 3, where they use  the 3 note pattern over the 4 beat grid. It creates this built-in syncopation, then the rhythmic  figure continues over the bar line into bar 4.

– In the recording they use some interesting double-time (16th note) rhythmic elements, based on the pentatonic scale. They use this double-time tool back and forth.

– Everything changes when the melody comes in. We can call the piece in D Dorian, since the bass line establishes the key – but then the melody comes in on the major 3rd of D! We can consider that a borrowed note, a great use of dissonance to throw the track off kilter a little bit.

– The melody going up a whole tone keeps it relatively unstable, even though it ends up on the major 3rd of F, a note in the scale.

– The chords of the whole track could be considered just D minor. The other chords are just sort of passing notes to get us back to D.

– The sound and production are essential elements to this track.

– Notice how they’re able to keep interest through the track: The build, then the middle, spacey section, then the reprise.

Film Music Terms and Concepts

Film Music Terms and Concepts

diagetic or source music – source is visible on the screen or whose source is implied to be present by the action of the film:

  • voices of characters
  • sounds made by objects in the story
  • music represented as coming from instruments in the story space ( = source music)

non-diagetic – source is neither visible on the screen nor has been implied to be present in the action:

  • narrator’s commentary
  • sound effects which is added for the dramatic effect
  • mood music

Non-diegetic sound is represented as coming from the a source outside story space.

Mickey Mousing – hitting action in time, and usually in rhythm as in cartoons

Spotting – deciding where the music goes – where it starts and stops

playing with the action on the picture– the music supports the same mood or theme as the picture, accompanies, enhances

(vs) playing against – the music plays a different mood, for a specific dramatic effect

underscore – or background score, the music that supports the movie. as a composer it’s probably a good idea to remember that your music should support the film – your music wouldn’t exist without it!

 Leitmotif/Leitmotives – a theme or instrument associated with a specific character

A very early example of a film that has almost all of these definitions: