SPN Episode Composer List & Interviews
[I've got a bunch of back posts that have been sitting in a word doc for weeks, which I still need to make, so 'Sorry' in advance, flist, for the subsequent spamming.]
The SPN composers Christopher Lennertz and Jay Gruska share the scoring job, usually alternating every other episode. But since more than once they have disrupted the normal "every-other-episode" scoring schedule, I wanted to create a source list to keep track of the composer on each episode.
SEASON ONE
Lennertz Episodes
| Gruska Episodes
101
102
103
104
105
106
107
108
109
---
110
111
112
113
114
115
116
----
117
118
119
120
121
122
SEASON TWO
Lennertz Episodes
| Gruska Episodes
----
201
202
203
204
205
206
207
208
209
210
211
212
213
214
215
216
217
---
218
219
---
220
221
222
---
SEASON THREE
Lennertz Episodes
| Gruska Episodes
301
302
303
304
305
306
307
308
309
310
---
311
312
---
313
314
315
316
SEASON FOUR
Lennertz Episodes
| Gruska Episodes
---
401
402
---
403
404
---
405
406
407
408
---
409
---
410
411
412
413
414
415
416
417
418
419
---
420
---
421
422
---
SEASON FIVE
Lennertz Episodes
| Gruska Episodes
501
502
503
504
505
506
507
508
509
510
---
511
---
512
513
514
515
516
517
518
---
---
---
---
---
---
---
---
---
---
COMPOSERS SPEAK
Lennertz Interviews:
- Megan's Minions Interviews Lennertz [Wherein he reveals he's a Dean fangirlboy]
- TrackSounds 2008 Interview with Lennertz
- July '07: Winchester Journal Interview with Lennertz
- May '07: Sequential Tart's Interview with Lennertz
- Cinescape.com Interview with Lennertz (includes info on developing the SPN Sound with Jay Gruska, and Cameron Stone, the electric cellist)
- TrackSounds interviews Lennertz
- Scifi.com article on Lennertz's score and Emmy nod
- Ain't It Cool News interviews Lennertz
QUESTIONING THE KRIPKE/SINGER INFLUENCE
The interesting thing I see when looking at the episode list is the aberrations in the regular "every-other-episode" schedule. It's been noted in several interviews that each exec had a composer he wanted to bring in on the project. Kripke brought in Lennertz whom he had worked with for years, while Singer had brought in Gruska who had been his own music man. Both times in season one, Lennertz took on a double shift for an episode depending on more of the MotW scare than the character points, (110 and 117). And in the case of the summer transition, Gruska was given both 122 and 201 for more emotional character situations. So is Singer advocating this? I've noticed, over time Lennertz has become more accepting of expressing sentiment, and started taking on the strings, though still lacking a lot of melody. But still, Gruska seems to get the eps that depend on the sentiment the most because he seems more willing to use strings to express it. But is Singer the reason? Is he the reason Gruska got the finale and the premiere to score? While Kripke was liking more what Lennertz did, but just conceded to Singer’s thoughts. Or is Kripke advocating it too? Why can't they ask this kind of stuff in interviews? Sure no one else would care but I'd be a happy camper. :D
BACK TO THE BIG DAMN SPN S1 SCORE POST
The SPN composers Christopher Lennertz and Jay Gruska share the scoring job, usually alternating every other episode. But since more than once they have disrupted the normal "every-other-episode" scoring schedule, I wanted to create a source list to keep track of the composer on each episode.
SEASON ONE
Lennertz Episodes
| Gruska Episodes
101
102
103
104
105
106
107
108
109
---
110
111
112
113
114
115
116
----
117
118
119
120
121
122
SEASON TWO
Lennertz Episodes
| Gruska Episodes
----
201
202
203
204
205
206
207
208
209
210
211
212
213
214
215
216
217
---
218
219
---
220
221
222
---
SEASON THREE
Lennertz Episodes
| Gruska Episodes
301
302
303
304
305
306
307
308
309
310
---
311
312
---
313
314
315
316
SEASON FOUR
Lennertz Episodes
| Gruska Episodes
---
401
402
---
403
404
---
405
406
407
408
---
409
---
410
411
412
413
414
415
416
417
418
419
---
420
---
421
422
---
SEASON FIVE
Lennertz Episodes
| Gruska Episodes
501
502
503
504
505
506
507
508
509
510
---
511
---
512
513
514
515
516
517
518
---
---
---
---
---
---
---
---
---
---
COMPOSERS SPEAK
Lennertz Interviews:
- Megan's Minions Interviews Lennertz [Wherein he reveals he's a Dean fangirlboy]
- TrackSounds 2008 Interview with Lennertz
- July '07: Winchester Journal Interview with Lennertz
- May '07: Sequential Tart's Interview with Lennertz
- Cinescape.com Interview with Lennertz (includes info on developing the SPN Sound with Jay Gruska, and Cameron Stone, the electric cellist)
- TrackSounds interviews Lennertz
- Scifi.com article on Lennertz's score and Emmy nod
- Ain't It Cool News interviews Lennertz
QUESTIONING THE KRIPKE/SINGER INFLUENCE
The interesting thing I see when looking at the episode list is the aberrations in the regular "every-other-episode" schedule. It's been noted in several interviews that each exec had a composer he wanted to bring in on the project. Kripke brought in Lennertz whom he had worked with for years, while Singer had brought in Gruska who had been his own music man. Both times in season one, Lennertz took on a double shift for an episode depending on more of the MotW scare than the character points, (110 and 117). And in the case of the summer transition, Gruska was given both 122 and 201 for more emotional character situations. So is Singer advocating this? I've noticed, over time Lennertz has become more accepting of expressing sentiment, and started taking on the strings, though still lacking a lot of melody. But still, Gruska seems to get the eps that depend on the sentiment the most because he seems more willing to use strings to express it. But is Singer the reason? Is he the reason Gruska got the finale and the premiere to score? While Kripke was liking more what Lennertz did, but just conceded to Singer’s thoughts. Or is Kripke advocating it too? Why can't they ask this kind of stuff in interviews? Sure no one else would care but I'd be a happy camper. :D
BACK TO THE BIG DAMN SPN S1 SCORE POST