|
Mastering Music
Duncan Trillo
Introduction
Your choice of music is as important as your choice of magic. The two should
go together, hand-in-hand, and complement each other. It should enhance
your magic, suit your personality, and create the right mood for
each routine that you perform.
Imagine a picture hanging on a wall without a frame. Now frame it. If you've
chosen a good frame it will complement the picture, and perhaps even highlight
some of its features. But if you've chosen a poor frame the exact opposite will
occur. It may clash with it, or dilute its impact, or draw attention away from
the picture altogether. It's exactly the same when performing to music; a poor
piece won't simply not add to your performance, it will actually take
away from it.
Originality
Have you ever watched a magic act, listened to the music, and thought to
yourself that the last time you heard that music was when you were last watching
another magic act?
In reality there is an amazing variety of music to choose from and the greater
the effort you make in your search, the greater the reward. I've found useful
music under the following headings: Movie Soundtracks, Show Soundtracks,
Instrumental, Classical, Jazz, Fusion, New Age, and the newly defined 'Smooth
Jazz' (which is really a mellow Jazz/Fusion).
Once you've found a few artists that are right for you then it's worth
investigating their recent back-catalogue, and keeping up-to-date with their new
releases. Reading album notes and finding out who wrote, produced, and played on
a particular recording will often lead you onto other CD's that have a similar
feel. Do bear in mind that some music dates easily, and some doesn't; so give
great thought when committing to a piece, and putting in hours of rehearsal
time. Spend both time and money seeking out suitable music, as a good piece will
really inspire you when you're working on a new routine.
Something to avoid is music that has been overused by the media, perhaps in a TV
commercial, or a piece that will instantly be associated with something, or
someone else. Ravel's Bolero might bring to mind Torvill and Dean's
Olympic ice skating, or Dudley Moore's performance in 10; not what you want your
audience to be thinking about during your act.
If you really want to be original you could have a piece of music especially
written for you, but the chances of success are, I'm afraid, pretty slim. Just
because your next-door-neighbour's got a couple of midi keyboards and a drum
machine, it doesn't necessarily mean that he's qualified to write and record for
you. You'd really need to go to a professional composer or musician, but even
then there's no guarantee that the finished product would be right. For every
good film score that's written there's a bad one. Be as objective as you
possibly can when considering using a piece of music that's been specially
written for you, and if it's not up to standard don't use it.
Endeavour to be as creative as you can when selecting your music and never use
music that other acts are using, especially if it's a piece that you wouldn't
have known about if you hadn't seen another act use it in the first place.
Taking another magician's music is the same as taking another magician's magic;
it's all too easy to do and of no worth. There's so much more satisfaction to be
had from finding your own music, and using that to develop an act that is truly
yours.
Using Music
Music is a powerful communicator. It can be used to convey every conceivable
mood and emotion: joy, despair, happiness, sadness, love, hate, suspense,
anticipation, surprise, intrigue... the list is endless. In the context of your
act it should be used to enhance every single piece of magic that you perform.
Dramatic music can strengthen a dangerous illusion, but so too can a teasingly
mellow piece; don't always go for the obvious choice. Silence can be very
powerful as well yet few magicians seem to utilise it in their acts. More than
anything else it's your use of music that will dictate the whole pace of your
act. Decide exactly what mood you want to convey to your audience, and if a
piece of music isn't quite right, don't use it.
Watching a few good
movies may offer some clues as to how to go about using music to its full
effect. Ennio Morricone's score for Brian De Palma's The Untouchables is
a good example of music and visuals working together to create a whole. Some
of the most powerful sequences visually are accompanied by some of the quietest
pieces musically. You don't have to bombard an audience with incessant driving
music to achieve results; introduce some light and shade, and let the music work
for you, not against you. Don't let the music be bigger than you,
or your magic, and swamp your performance. You, the performer, come first; the
magic and music second.
Your opening music is crucial. Avoid anything that's clichéd, anything that's
too familiar, anything that's dated, and anything with the word "magic" in it.
And remember that just because you want to make an impact with your act, it
doesn't necessarily mean that your opening music has to be "big." For years
magicians have been telling other magicians that "You've got to open your act
with a quick trick and punchy music, to grab their attention," but this just
isn't so. There are many different ways to start an act, and that's just
one of them.
In the past I've opened my act by performing a complete routine in pure silence,
and not having any music start until the beginning of the second routine. In
fact this can be incredibly strong. As you can literally hear a pin drop, the
audience's focus of attention is high. Then, when the music does come in for the
first time, the start of it beautifully underlines the end of the previous
routine, and your whole performance elevates, in both mood and direction. It's a
great piece of theatre if you understand how to execute it properly, and
slightly under-play it.
If you really believe that the only way to open your act is with a dynamic
driving piece of music, "to get their attention," then you'd better make certain
that you've got the talent to back it up. Few magicians have. Those that do
succeed manage to project their personality and character through it all. Most
end up running around the stage making ungainly gestures and expressions whilst
trying to keep up with their music. We've all seen them at magic conventions…
the trouble is that sometimes the public sees them as well.
So try starting with a piece that both you and your audience are going to be
comfortable with, that sets the scene, and allows you the performer to register.
Normally I like to open my act with a very laid back piece of music that despite
being easy on the ear, is deceptively strong. At the time of writing I'm using a
piece performed by George Benson and Earl Klugh. I think that it achieves the
following:
• It sets the scene and creates a unique atmosphere for the magic to come.
• It's a beautiful piece of music.
• It is not a burden on the ears.
• It gives the audience time to take in both me and the magic that I am
performing.
• It focuses the audience's attention, and gently "draws them in."
• It doesn't "swamp" the magic.
• And as it has such a gentle start it normally contrasts well with whatever
preceded it.
Years ago I used to open with an up-tempo card routine, but soon realised that
three minutes later, when it had finished, the audience didn't know me any
better than when I'd first walked onto the stage. They'd been too busy watching
the card productions! So now it's my second routine that takes the
audience "up," as opposed to the first. I want them to have the time to get to
know me the performer first and foremost.
Try to keep in mind pace, continuity, progression, and light and shade; don't
let things trundle along at one level. For your closing music something that
builds in pace to the finish is the obvious choice, but this isn't necessarily
right for every act.
I don't like silent acts that use clap-along music to close with as, for me,
this is "cheating." It's all too easy for a mediocre performer to finish in this
way, getting the whole audience to clap along at the end, even though they
barely clapped during the show.
Your closing music must be strong though, as it is the "clincher," but remember,
strong doesn't necessarily mean fast and furious, it simply means strong.
For your play-off I'd suggest either using your closing music again, or any
memorable and uplifting piece that you used in your act. Don't introduce a new
piece at this stage; it is far better to use something that by now they will
associate with you.
Be aware of mixing too many different styles of music together in the same
performance. You may well want variety, but you must have continuity as well.
This applies especially if you're working to a soundtrack built up from
different sources, as opposed to a live band.
Throughout your act your timing must be impeccable. You should know your music
inside-out. And it must instantly be accessible to your audience. After all,
it's no good using music that has to be listened to half a dozen times before
anyone's going to like it.
Music can touch the soul. Use it.
© Duncan Trillo, July 2000