Underscoring in a nutshell: using music under spoken dialogue.

I would imagine that the idea of underscore is, in one way or another, a really an old one, but without a doubt, the movie industry has greatly impacted the audiences acceptance and expectation for music to be a part of a non-musical production.

Underscoring is something, that as a sound designer, I love AND hate. (I bet you're not that surprised, dear reader, are you??)

When underscoring works, it's great. There's nothing better than a scene that's dramatic arc is supported by a building piece of music, or a love scene that's embellished with something sweet and beautiful. Underscoring physical action - fights, for example - can be an absolute must to help create tension and drive movement forward.

But when scoring doesn't work, it's can be a show ruining disaster. If the music is too loud, complex, or doesn't match what's happening, the show becomes about whatever music was chosen. Even if I like that music - that's not the point of my rump being in a seat, otherwise I'd go to a concert rather than a play.

As a designer, I am generally speaking not likely to suggest underscoring, unless I'm working with a composer who has some specific ideas about underscore and where best to use it. I find that in concept, scoring is a pretty idea to embellish specific points of a show on paper, but really hard to pull off with out a lot of hard work. Additionally my negative, snobby, theatre purist half insists underscoring is telling an audience how to feel, when they probably already get that (or should) all by themselves. I also tend to knee jerk when someone asks me to underscore a specific scene - as though that scene can't hold it's own without emotional help. If that's the case - there are a lot bigger problems than picking some music to go under it. All of that said, if I get past the knee jerk, work hard, or think outside my comfort zone, art can happen.

Here are a few things to consider when deciding to underscore a scene or monologue, starting with the most important question:

Would using music enhance not only the text, but what the performer is bringing to the text, show, and the specific performance?

If your answer isn't a solid yes, bank the idea for another scene, if not another show.

The second thing to consider, is: Would underscore take AWAY from, DISTRACT, or otherwise inhibit the scene or monologue in question.

In this case, if your answer is anything but a solid NO, save the score for something else.

Often the key comes not just about if music should be used, but having the right music. Not only does the music need to match, tempo, build, and internal level can make a big difference on how effect the music will be under dialogue Even two pieces with very similar tempos, orchestration, and thematic quality can have significantly different impacts on a scene based on they way each my build, crescendo, or other dynamic qualities throughout the piece.

So, assuming you aren't a composer and aren't working with one, how do you pick a piece of music?

What are you already using in the show? Top of show, transitional, preshow, intermission, curtain call. What do they suggest? Does the style of the production suggest you should keep your underscore the same as these pieces? Or can they be different.

Does the text suggest a specific genera? Classical? Jazz? Alt Rock?

Do you want to use music from a specific time period? This may (or may not) be dictated by the period of your script. There was a time that a period piece meant you would probably have to use period music, but, again thanks to Hollywood, that line isn't as concrete as it once was. You may also be able to use multiple types of music overall.

As a rule, stick to music that is instrumental. It can be very difficult to focus (or hear) actor spoken words if there are words being sung or spoken in the music being played back. Tracks with non-specific vocals (oohs, ahhs, that sort of thing) rather than words can work.

As a general rule, underscore ought to be "simple" music - as in pieces that don't have a lot going on. Imagine trying to understand words and make sense of them over the 1812 Overture. Not easy.

As a very general rule, music that isn't heavily orchestrated - in other words that has fewer instruments playing - is easier to use as underscore. There are of course exceptions - many classical pieces make great underscore despite large numbers of instruments.

It's also good to stay away from well known pieces of music, unless you're making a specific point with that music. For example, the theme to the Rocky movies is going to make the majority of your audience think about boxing, Sylvester Stallone, and "ADRIAN!" If that's not what you're going for, pick something else.

Once you have a specific piece (pieces) of music you want to try, there are some other things to consider. Can the music run at a level that it is intelligible, yet that is low enough for dialogue to still be heard and more importantly be understood. This can be really tricky in a straight play if you aren't using body mics, especially in a traditional proscenium space with "standard" equipment. You also may have to do some wave editing or make level adjustments if the piece has dynamic shifts or volume changes as part of the track.

I would also offer - as one sound designer to another, or as a sound designer to a director - don't add underscore just to add more sound to a show. Less is often more, and I'm pretty sure you're not getting paid by the cue.

I hope these suggestions are helpful, but remember the most important rule: rules are meant to be broken.

Cheers and happy designing, cats and kittens,

Until next time!

~R