I freaked out on Twitter a couple weeks ago at hearing Chris Lennertz, one half of SPN's scoring team, was nabbed by Kripke to score Revolution, fearing it meant the end of his tenure as a SPN composer.

ash48's 3.01 broment post at theheartofspn last week featuring the Holy Water Pouring Scene reminded me of the gorgeous score that went along with it. Andddd along ( Read more... )

So my goal to stop thinking about SPN after my dramaqueen of a reaction to the finale worked fantastically...for about one week. Somehow after a series of mellowing out and peeking back in LJ and seeing a bunch of awesomely inspiring/thinky Winchestery posts, I got to talking to a couple of flisters about S7 and the show, and brought up this idea ( Read more... )

Background on Motifs:

Just as literature can possess reoccurring themes called 'motifs', so can strains of music within a score of a film or television show. The tradition of the use of motifs in film score is actually an old idea which was derived from the German composers who coined the phrase, leitmotif ('leading motif') and made the practice ( Read more... )

[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- ( Read more... )