David Ashworth
David Ashworth is a freelance education consultant. He is recognised nationally as a leading figure in ICT in Music Education and as the Project Leader for the groundbreaking website, teachingmusic.org.uk. He is currently leading a number of projects in the North West of England and elsewhere on the use of ICT in live performance.
In this resource, we outline a method for creating and recording a soundtrack.
Soundtracks can provide a highly effective backdrop for:
Sounds can be recorded and layered using a microphone and simple sound editing software.
In this exemplar, we are going to consider a sequence of five key episodes from the Titanic story. These were the ones used in the original commission by David Bedford. The five sections are:
1. Night stars
2. Iceberg
3. SOS
4. Sinking
5. Night stars (a reprise of section 1)
Resources required
Activities for the classroom
Here are some suggestions for creating soundtracks for each section.
1. Night stars
Contrary to what many people may think, the Titanic disaster happened on a clear and relatively calm night at sea. The first section therefore sets this scene. We are trying to capture the dark sky and the deep, calm, gently undulating sea. Watch the videoclip http://www.thewreckofthetitanic.com/2010/05/sample-launching-titanic.html to see how David Bedford composed his music for this opening section.
First of all discuss with the pupils what sort of sounds are needed to create this atmosphere. High or low? Loud or quiet? Long or short? What about timbre and texture?
A background 'wash' of sound can be created using one or preferably more keyboards. Strings or synthesizer (pad) sounds can be highly effective. Consonant groups of notes, widely spaced, played gently and sustained. Keyboard chords can sound especially effective if one student holds a group of notes and another student is slowly moving the volume control higher and lower to create the effect of movement. Record this layer to your first track on Audacity.
On top of this background layer of sound, think about ways in which sound can be used to evoke the twinkling stars. What would be appropriate instruments? How would you play them? Rehearse these over the recorded background and record as a separate track (or tracks) when you are happy with the result.
2. Iceberg
This section can be more ambitious. First of all create and record some appropriate background layers reflecting the change in mood or atmosphere. This section might start with a calm, restful 'elegance' - reflecting the scenes on board the ship - gradually becoming more tense as the danger unfolds. Consider using some eyewitness accounts as a stimulus for creating the sounds required for this section of the composition:
Each one of these statements can be used by small groups for mini composition projects.
Sounds you might want to consider include 'classroom' instruments; instruments the pupils play (opportunity for including Wider Opportunities groups here); voices and 'found sounds'.
The music you create could include original composition; snatches of music that was actually played on or is associated with the Titanic story; sounds which capture specific effects. For example:
It can be challenging to find sounds in the classroom that adequately capture the enormity and drama of these apocalyptic events. This is where the sound processing capabilities afforded by Audacity are especially helpful. Use options from the effects menu to dramatically transform your 'classroom' sounds:
Students will enjoy transforming their recorded sounds using a 'trial and error' approach. You may find change pitch; change speed; reverse; echo and reverb particularly useful. Here are a few suggestions to explore:
Note: Reverb can be tricky to work with in Audacity. Downloading this chart is recommended http://www.teachingmusic.org.uk/resource/15344
You may also want to add recitation of fragments of the eyewitness accounts to another layer in recording this section.
3. SOS
It is recommended that you refer to our website Teacher Resources Morse Code Distress Calls and Morse Code CQD-SOS before beginning this section.
In contrast to the first two highly abstract sections, there is an opportunity to explore some rhythm work here. Aim for a multi layered 'collage' of different Morse signal rhythms. These signals can be generated electronically using the Compose World software (or find an online Morse code translator). Record and manipulate these sounds in Audacity. In addition, pupils could learn to play some of these distress call rhythms on conventional instruments, which are then recorded.
The Titanic story tells of scrambled messages which were misinterpreted. Use Audacity to transform, develop and 'corrupt' some of your recorded rhythm patterns. Perhaps you could delete some notes from the pattern, reverse or stretch some sections etc. The resulting music could sound quite minimalist with a sense of urgency and possible chaos and panic.
Listen to the interview with David Bedford on the CD ROM, where he talks about the use of Morse rhythms in his composition.
4. Sinking
Approach this section as for section 2. Again, an eyewitness account can provide an effective starting point:
From the eyewitness account of Lady Duff-Gordon from her lifeboat:
" Suddenly I saw the Titanic give a curious shiver. The night was perfectly clear.. Then the boat's stern lifted in the air and there was a tremendous explosion. The whole forward part of the great liner dropped down under the waves. The stern rose a hundred feet almost perpendicularly. The boat stood up like an enormous black finger against the sky.. Then there was another explosion and the great stern of the Titanic sank as though a great hand was pushing it gently down under the waves. "
It might be helpful if using an account like this to create a graphic score or a storyboard. Each sentence or phrase could form a section for a group of students to work on. Here are some ideas to get you started:
5. Night stars
This is a repetition or variation on section 1. Consider a fade out on this section. This can be achieved using 'effects' in Audacity.
Research
It would be highly worthwhile to watch the interviews with David Bedford on the CD ROM. He provides the listener with lots of ideas for composition.
Students should search out eyewitness accounts, images, recordings of music associated with the Titanic story. Many of these are readily available on the internet. See the Links section from our website. Again, the CD ROM provides a wealth of stimulating material.
David Ashworth is a freelance education consultant. He is recognised nationally as a leading figure in ICT in Music Education and as the Project Leader for the groundbreaking website, teachingmusic.org.uk. He is currently leading a number of projects in the North West of England and elsewhere on the use of ICT in live performance.
In this resource, we outline a method for creating and recording a soundtrack.
Soundtracks can provide a highly effective backdrop for:
- a live musical performance
- a slideshow of photographs or pictures created by the pupils (see Titanic Tributes: Magic Lantern resource on this website)
- a video
- live drama or storytelling
Sounds can be recorded and layered using a microphone and simple sound editing software.
In this exemplar, we are going to consider a sequence of five key episodes from the Titanic story. These were the ones used in the original commission by David Bedford. The five sections are:
1. Night stars
2. Iceberg
3. SOS
4. Sinking
5. Night stars (a reprise of section 1)
Resources required
- PC or Mac Computer
- Audacity sound editing software (free download from http://audacity.sourceforge.net/ )
- Download Tim Brook's guide to using Audacity in schools, if you are unfamiliar with this software from http://www.teachingmusic.org.uk/story.aspx?lngStoryID=14649 (if you do, please leave Tim a thank you comment!)
- A computer microphone (a reasonably good quality USB condenser microphone such as the Samson CO1-U gives excellent results)
- Laptop projector and speakers
Activities for the classroom
Here are some suggestions for creating soundtracks for each section.
1. Night stars
Contrary to what many people may think, the Titanic disaster happened on a clear and relatively calm night at sea. The first section therefore sets this scene. We are trying to capture the dark sky and the deep, calm, gently undulating sea. Watch the videoclip http://www.thewreckofthetitanic.com/2010/05/sample-launching-titanic.html to see how David Bedford composed his music for this opening section.
First of all discuss with the pupils what sort of sounds are needed to create this atmosphere. High or low? Loud or quiet? Long or short? What about timbre and texture?
A background 'wash' of sound can be created using one or preferably more keyboards. Strings or synthesizer (pad) sounds can be highly effective. Consonant groups of notes, widely spaced, played gently and sustained. Keyboard chords can sound especially effective if one student holds a group of notes and another student is slowly moving the volume control higher and lower to create the effect of movement. Record this layer to your first track on Audacity.
On top of this background layer of sound, think about ways in which sound can be used to evoke the twinkling stars. What would be appropriate instruments? How would you play them? Rehearse these over the recorded background and record as a separate track (or tracks) when you are happy with the result.
2. Iceberg
This section can be more ambitious. First of all create and record some appropriate background layers reflecting the change in mood or atmosphere. This section might start with a calm, restful 'elegance' - reflecting the scenes on board the ship - gradually becoming more tense as the danger unfolds. Consider using some eyewitness accounts as a stimulus for creating the sounds required for this section of the composition:
- I was awakened by a long grinding sort of shock. It was not a tremendous crash, but more as though someone had drawn a giant finger all along the side of the boat.'. (Lady Duff-Gordon, surviving passenger.)
- 'It was a loud grinding crash and it shook the boat like a leaf' (Mrs Henry E. Stengel, passenger survivor.)
- 'Although there was quite a jar, I thought the trouble was slight'. (William E. Carter, surviving passenger.)
Each one of these statements can be used by small groups for mini composition projects.
Sounds you might want to consider include 'classroom' instruments; instruments the pupils play (opportunity for including Wider Opportunities groups here); voices and 'found sounds'.
The music you create could include original composition; snatches of music that was actually played on or is associated with the Titanic story; sounds which capture specific effects. For example:
- the booming of a big drum played slowly
- tinkling triangles
- trills on recorders
It can be challenging to find sounds in the classroom that adequately capture the enormity and drama of these apocalyptic events. This is where the sound processing capabilities afforded by Audacity are especially helpful. Use options from the effects menu to dramatically transform your 'classroom' sounds:
Students will enjoy transforming their recorded sounds using a 'trial and error' approach. You may find change pitch; change speed; reverse; echo and reverb particularly useful. Here are a few suggestions to explore:
- Any vocal sounds that are considered appropriate
- A plastic water bottle containing some water. Squeeze and shake the bottle
- Crumpling cellophane or newspaper
- Rattling a bunch of keys
Note: Reverb can be tricky to work with in Audacity. Downloading this chart is recommended http://www.teachingmusic.org.uk/resource/15344
You may also want to add recitation of fragments of the eyewitness accounts to another layer in recording this section.
3. SOS
It is recommended that you refer to our website Teacher Resources Morse Code Distress Calls and Morse Code CQD-SOS before beginning this section.
In contrast to the first two highly abstract sections, there is an opportunity to explore some rhythm work here. Aim for a multi layered 'collage' of different Morse signal rhythms. These signals can be generated electronically using the Compose World software (or find an online Morse code translator). Record and manipulate these sounds in Audacity. In addition, pupils could learn to play some of these distress call rhythms on conventional instruments, which are then recorded.
The Titanic story tells of scrambled messages which were misinterpreted. Use Audacity to transform, develop and 'corrupt' some of your recorded rhythm patterns. Perhaps you could delete some notes from the pattern, reverse or stretch some sections etc. The resulting music could sound quite minimalist with a sense of urgency and possible chaos and panic.
Listen to the interview with David Bedford on the CD ROM, where he talks about the use of Morse rhythms in his composition.
4. Sinking
Approach this section as for section 2. Again, an eyewitness account can provide an effective starting point:
From the eyewitness account of Lady Duff-Gordon from her lifeboat:
" Suddenly I saw the Titanic give a curious shiver. The night was perfectly clear.. Then the boat's stern lifted in the air and there was a tremendous explosion. The whole forward part of the great liner dropped down under the waves. The stern rose a hundred feet almost perpendicularly. The boat stood up like an enormous black finger against the sky.. Then there was another explosion and the great stern of the Titanic sank as though a great hand was pushing it gently down under the waves. "
It might be helpful if using an account like this to create a graphic score or a storyboard. Each sentence or phrase could form a section for a group of students to work on. Here are some ideas to get you started:
5. Night stars
This is a repetition or variation on section 1. Consider a fade out on this section. This can be achieved using 'effects' in Audacity.
Research
It would be highly worthwhile to watch the interviews with David Bedford on the CD ROM. He provides the listener with lots of ideas for composition.
Students should search out eyewitness accounts, images, recordings of music associated with the Titanic story. Many of these are readily available on the internet. See the Links section from our website. Again, the CD ROM provides a wealth of stimulating material.
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