Film & Television Thematic Underscore Cues

Underscore cues selected for this demonstration were composed, arranged, orchestrated and performed by composer Tom Bruner, using only a digital audio workstation and computer music software. No “live musician’s” performances were recorded for these brief examples.

A film cue is a piece of music where a decision has been made that by using music as underscore, it would enhance a specific scene, or timeline, in a film or television show. The word “cue” is derived from instructions given a musical accompanist in silent films – as to where he should “cue the music” to be performed, and therefore communicate specific mood, action, situation, characterization or plot development to the audience, who otherwise might not understand what was happening on screen, especially without any spoken dialogue or sound.

Six things Tom Bruner believes thematic underscore IS… and does positively for a film or television production:

1. Underscore acts as a “subtext”, and unfolds subtly… along with what is being revealed by plot, dialogue, emotion, action, or visually being shown within the evolving timeline on screen. Underscore is therefore communicated “subliminally” to the audience, and primarily works under the conscious level of their attention to the film.

2. Underscore acts to enhance detailed elements within the specific timeline of a scene (or group of scenes) without distracting the viewer…. and generally should “not be heard”, yet specifically a part of the subliminal recognition and enhancement of cinematic elements, and not simply “GENERIC BACKGROUND MUSIC”.

3. Underscore adds pacing to a production, and ties together scenes, even dissimilar scenes, because of the thematic musical thread that appears, then reappears in the form of variations. This brings a sense of continuity, remembrance, recognition or familiarity to an event or situation that may have happened minutes, or even an hour before.

4. Underscore can generate immediate suspicion, tension, empathy, insight, fear, understanding, sadness, “adrenalin rush”, happiness, joy, compassion, and even visual panorama within the viewer’s subconscious, or imagination, without the viewer even aware there is “music playing.”

5. Underscore is unique and specific to the scene, and especially to the production – just as costuming, set design, casting or director’s vision are unique to each individual production… and not simply an extension, or “clone,” of another work or body of work.

6. Underscore can magically communicate on many levels without spoken dialogue, specific action or even visual imagery. In other words, underscore can communicate things that are unsaid, unseen, or even yet to happen!

Six things Tom Bruner believes thematic underscore IS NOT… and does not do positively for a film or television production:

1. Underscore does NOT distract the viewer from the first and foremost importance of the film, or television show, and its elements of plot, emotion, characterization, or visualization. Underscore is NOT composed to be the focal point of the viewer’s attention! The film is the focal point, NOT the music!

2. Underscore does NOT compete with dialogue… EVER!

3. Underscore should NOT BE USED……. unless it is relative, unique and complementary to the scene or the production. No music at all is usually far better than music that is not relevant, is trite, generic or distracting, and does NOT specifically unfold within the same dynamic as plot, mood, action, etc. in the scene that is playing on screen.

4. Underscore is NEVER in the form of a popular song, especially under dialogue, and the viewer should NEVER be asked to decide whether to listen to dialogue… or the lyrics to a song! Film productions, television productions and documentaries are not music videos, and should not be treated as such. Songs are generally used as a focal point for source music – where a song is being played in a scene coming from a specific source – a band in a nightclub, a radio, CD, television etc.; or in musicals, where songs are a part of the narrative…. and sometimes songs are used as elements of ambiance to create a “feeling” within a film (i.e. AMERICAN GRAFFITI, etc., etc.). Songs, especially popular songs, have a life and “identity baggage” of their own outside of the film or TV production, which is many times distracting or confusing to the viewer. So unless composed to be a unique element that unfolds with a situation or timeline, or as basis of a musical theme for the film, there is no cinematic reason for a song in a scene.

5. Underscore is NOT written to be memorable unto itself, or in any way used in a film or television production to distract from the importance of the cinematic moment (or focus). Underscore would NOT exist, or be composed at all except for the film. Even more importantly, underscore should not be there just to take the place of “silence,” act as “background” or “sonic wallpaper”… but rather to specifically add to, and “underscore”, a scene’s impact – with relevant and developed music.

6. The effectiveness, success, or positive qualities of underscore (i.e. whether it is good or bad) should not be judged by, or based on the “kinds” of music, or “style preferences” that each of us know and enjoy – but rather if the notes, instrumental colors, and rhythms played under a scene enhances the scene…. no matter what that “style” of music may happens to be! To quote the great Duke Ellington’s answer when asked what kind of music is the best…. “There are only TWO kinds of music…..good and bad!”

Composer/Producer Tom Bruner at his Digital Audio Workstation

Meet Tom Bruner