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OCT 17 2008
ISSUE 414
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CELTIC WOMAN'S OWN 'TINKER BELL' - MAIREAD NESBITT - FEATURED IN DISNEY'S TINKER BELL
CELTIC WOMAN'S OWN 'TINKER BELL' - MAIREAD NESBITT - FEATURED IN DISNEY'S TINKER BELL
"Mairead Nesbitt's World-renowned Melodic Celtic Fiddle Phrasing Becomes A Character Onto Itself In TINKER BELL"
Music is a character onto itself
Prior to starting work on TINKER BELL, Composer Joel McNeely had spent more than his share of time in the realm of Peter Pan – most notably with his acclaimed score for RETURN TO NEVERLAND. But his approach to this production would offer only faint musical shadows of any previous interaction with fairies.
McNeely quickly realized he would need two prevalent themes for the score – one to represent Tinker Bell, and the other to reflect the world of the fairies, with various sub-themes to architecturally bind the piece together. In addition, the film’s emphasis on nature gave an altogether new inspiration for McNeely’s approach to the sounds and instruments he would employ to instill this world within his music.
"I wanted this score to have a very eclectic sound," McNeely says. "We were going to see a world we’ve never seen before, and we wanted music – melodies and textures – that would speak to those unique qualities, that would make it a world of its own."
McNeely focused on creating TINKERBELL’s score primarily through the use of "world music" elements, emphasizing a heavy Celtic base fortified by musical influences from cultures across the planet. Thus, the orchestral composition is colored with the sounds of instruments as varied as pennywhistles of all different shapes and size, Indian bamboo flutes, Scottish bagpipes, a Russian Balalaika, and Peruvian and Italian ocarinas, not to mention tequila bottles filled with water to make low resonant airy bass notes. Percussion was added utilizing drums from Africa, India, Ireland and China. A small band comprised of a hurdy-gurdy, mandolin, bass and guitar further buoys the score.
"It was great making music for this new world, where there were really no boundaries, no preconceptions, just a big, blank, beautiful slate" McNeely says. "We’ve been able to create a very eclectic world that’s truly non-exclusive to one culture, and that co-mingling of musical cultures really lends itself well to the world of the fairies."
The two primary themes are both written for maximum flexibility, and neither is represented by a single instrument. Tinker Bell’s theme is defined in a motif of its first four notes, and while the overall theme is joyful and slightly heroic, the signature can be used in a number of ways to reflect her myriad emotions.
"When Joel played Tinker Bell’s theme for us on the piano, we all got chills down our spine, and we knew right then and there it was perfect," Raymond recalls. "It just embodies her independence and who she is as a character."
The theme of Pixie Hollow and the fairies is more of an anthem that creates a world and not a specific character. While its initial tone is reminiscent of an anthem, its flexibility allows a range from solemn and inspirational to playful and joyful. It is especially prevalent during Tinker Bell’s initiation to Pixie Hollow during the Talent Ceremony.
"Joel McNeely’s score brought this film to a whole new level," Roussel says. "We set him off on this mission to create this ethereal, surreal place that we’ve never traveled, and it really works. Joel has a real knack for creating great themes that pull you in as an audience member. If you were to cut out the dialogue track and just play the score, you would know what this movie’s about simply by listening to the emotional journey that he's able to take us through."
"This melody works on so many levels – it can get big in the action moments, it can give you thrills and chills, and yet it can become very quiet and somber," Raymond says. "Bottom line for me is that I can not stop humming that theme – which is what makes a great score."
"Mairead Nesbitt's World-renowned Melodic Celtic Fiddle Phrasing Becomes A Character Onto Itself In TINKER BELL"
Music is a character onto itself
Prior to starting work on TINKER BELL, Composer Joel McNeely had spent more than his share of time in the realm of Peter Pan – most notably with his acclaimed score for RETURN TO NEVERLAND. But his approach to this production would offer only faint musical shadows of any previous interaction with fairies.
McNeely quickly realized he would need two prevalent themes for the score – one to represent Tinker Bell, and the other to reflect the world of the fairies, with various sub-themes to architecturally bind the piece together. In addition, the film’s emphasis on nature gave an altogether new inspiration for McNeely’s approach to the sounds and instruments he would employ to instill this world within his music.
"I wanted this score to have a very eclectic sound," McNeely says. "We were going to see a world we’ve never seen before, and we wanted music – melodies and textures – that would speak to those unique qualities, that would make it a world of its own."
McNeely focused on creating TINKERBELL’s score primarily through the use of "world music" elements, emphasizing a heavy Celtic base fortified by musical influences from cultures across the planet. Thus, the orchestral composition is colored with the sounds of instruments as varied as pennywhistles of all different shapes and size, Indian bamboo flutes, Scottish bagpipes, a Russian Balalaika, and Peruvian and Italian ocarinas, not to mention tequila bottles filled with water to make low resonant airy bass notes. Percussion was added utilizing drums from Africa, India, Ireland and China. A small band comprised of a hurdy-gurdy, mandolin, bass and guitar further buoys the score.
"It was great making music for this new world, where there were really no boundaries, no preconceptions, just a big, blank, beautiful slate" McNeely says. "We’ve been able to create a very eclectic world that’s truly non-exclusive to one culture, and that co-mingling of musical cultures really lends itself well to the world of the fairies."
The two primary themes are both written for maximum flexibility, and neither is represented by a single instrument. Tinker Bell’s theme is defined in a motif of its first four notes, and while the overall theme is joyful and slightly heroic, the signature can be used in a number of ways to reflect her myriad emotions.
"When Joel played Tinker Bell’s theme for us on the piano, we all got chills down our spine, and we knew right then and there it was perfect," Raymond recalls. "It just embodies her independence and who she is as a character."
The theme of Pixie Hollow and the fairies is more of an anthem that creates a world and not a specific character. While its initial tone is reminiscent of an anthem, its flexibility allows a range from solemn and inspirational to playful and joyful. It is especially prevalent during Tinker Bell’s initiation to Pixie Hollow during the Talent Ceremony.
"Joel McNeely’s score brought this film to a whole new level," Roussel says. "We set him off on this mission to create this ethereal, surreal place that we’ve never traveled, and it really works. Joel has a real knack for creating great themes that pull you in as an audience member. If you were to cut out the dialogue track and just play the score, you would know what this movie’s about simply by listening to the emotional journey that he's able to take us through."
"This melody works on so many levels – it can get big in the action moments, it can give you thrills and chills, and yet it can become very quiet and somber," Raymond says. "Bottom line for me is that I can not stop humming that theme – which is what makes a great score."
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