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on the lawn. Nevertheless, every film should have some sense of direction. If it has not, try to instil one.
The story of a summer holiday may have degenerated to a mere collection of shots. But you can heighten the contrasts with the right sort of music and unify the whole by using the same accompaniment for the interludes. An effective method is to choose all the music from the same suite or symphony.
Provided you can choose a work suited to the film, this is a great help in other ways too. The same themes are used repeatedly so that you can jump from one part of a movement to another without an unpleasant jolt. Sometimes, indeed, you can switch from one movement to another without trouble. Because the movements are written in related keys, the transition is not disturbing and you do, in fact, get a smooth flow.
With separate works this is not the case. Quite often you may select pieces which appear ideally suited to a pair of consecutive sequences. Yet when you try to fade from one piece to the other, the change of key is almost painful. The remedy is to change one piece. Alternatively, interpose a bridge, i.e., a piece in a key which forms a stepping stone between the other two.
Only One Rule
Does this sound complicated ? You have been told not to use brass bands, piano or vocal music. Dramatic construction and key relationships have all come into the discussion.
Is the whole business too difficult after all?
Not in the least! You need remember only one important rule. The audience should not be conscious of the music nor complain of a lack of natural sound. You will provide good music so long as you conform to this rule. But the points above are raised to provide you with a short cut to your goal. You would discover them for yourself after a time, but it might be a long time.
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