Music Direction,
Arranging/Composition,
Sound Design

Production list

King Lear (2019)
The Merchant of Venice (2018)

Garage (2017, 2019)

The Winter's Tale (2017)

Much Ado About Nothing (2016)

All photos by Robert Michael Evans, unless otherwise noted

From 2016 to 2019, while serving as artistic director of Seoul Shakespeare Company I also served as the sound designer/composer/music director. Below are music and sounds used in my designs, with photos roughly corresponding to what was happening onstage. I composed all the songs that are sung by characters (with the lyrics by Shakespeare) within scenes, but for incidental music the approach to each show was different. I started in 2016 with lots of royalty-free music in Much Ado, then composed and recorded most of the music for The Winter's Tale, then directed all live music for The Merchant of Venice, and finally designed King Lear with lots of recordings of modern gugak (Korean traditional music).

 

At the bottom of each show's section I've included a Spotify playlist of the pieces that are available there (either music used in the show or music that inspired the show's live music), as it's the most convenient way to group them in one place and encourage exploration of the artists. Please explore, and purchase their music.

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Photos by Laura Jasinskaite (top row) and Robert Michael Evans (bottom row)

 

King Lear
Seoul Shakespeare Company, 2019

(Directed by Lauren Ash-Morgan)

The general sound design concept for this show was one of the main reasons I wanted to do this play, as I had long wanted to incorporate the sounds of Korean traditional music (gugak) into Lear. I had originally been interested in using really traditional gugak but found while doing preliminary sound tests in the theatre during The Merchant of Venice that the recordings I was thinking of weren't crisp enough in the theatre, and as I found during the sound design process, many gugak recordings were difficult to extract brief snippets from, as the layering of instruments created few clean breaks between musical phrases. Instead I shifted toward recordings of modern gugak compositions and solo instruments, particularly those featuring the geomungo, and the gayageum for Cordelia. 

 

I composed the Fool's songs. Some of them were inspired by schmaltzy Korean trot songs, as I had originally thought of making him a pumba-style clown. At the same time, I did not want the show to stop every time the Fool sings, so many of the other songs are written like quick schoolyard taunts.

In Shakespeare's time, at the end of the play the dead characters usually would have had to stand up in view of the audience and a jig would most likely have ended the play. I have often felt that the ending of Lear feels incomplete without something like this, so I incorporated an ending song into the curtain call. The complete ending sequence is below (with my voice recorded as a practice track for the cast). It begins after Edgar's final line, with the stage strewn with bodies, as one of the nurses from the show's opening slowly enters with the hospital bed. Albany, Kent, and Edgar lift Lear into the bed, while the three daughters slowly stand up and exit. Finally, Edgar (who also doubled as a nurse in the opening of the play) gently raises the head of the hospital bed and exits. The man awakens and the lighting snaps back to the hospital lighting as his daughter (the same actress who played Cordelia, now in modern clothes) rushes in with a suitcase. As she approaches the hospital bed and takes his hand, the lights turn to pink-purple and they have a moment together before he passes and the lights go out. Then the colored lights of Lear's world slowly come up as the cast enters in groups, singing. I used three different pieces of music for this sequence (credited below). Miraculously, both the traditional version of "He that has an a little tiny wit" and the modified version that I composed for our Fool matched well with Geomungo Factory's piece "Fly to the Sky," which became the backing track for the song. It was difficult for the cast to hear the music from the stage, so I added some additional percussion to the recording and conducted from the back of the audience.

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MUSIC

Transition from man in Korean hospital to the world of Lear. (Skip the first 30 seconds if the heart monitor beeps are annoying.)

Music source: "Red" by Park Woojae

Lear opening (featuring "Red")Park Woojae, Lauren Ash-Morgan
00:00 / 03:09
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MUSIC

Procession of Lear (riding on hospital bed) and entourage

Music source: "군무(群舞)-타악(엇모리)/살풀이(대금)/자진/동살풀이 (타악과 구음)" by 이생강민속국악단 (track 6 of the album 전통민속무용곡집 (4) - 살풀이)

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MUSIC

Transition from Gonerill & Regan's exit to Edmond's entrance.

Music source: "Dancing with Spirits" by Donald Reid Womack

1.2 Edmond entrance (CUE “We must do something, and i’th’heat”)Donald Reid Womack
00:00 / 00:18
1.1 King’s entrance (CUE “The king is coming.”)이생강민속국악단
00:00 / 00:51
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QUICK MUSIC TRANSITION

Descending tones, used for scene transition

Music source: "Sori" by Donald Reid Womack

1.5 Descending tones (CUE "Well, well, th'event")Donald Reid Womack
00:00 / 00:10

QUICK SOUND EFFECT TRANSITION

Boom, used for several scene transitions

1.3 Basic boom (CUE “All with me’s meet that I can fashion fit.”)
00:00 / 00:06
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SOUND EFFECT TRANSITION

Cricket sounds for scene transition and opening of scene

2.1 Crickets (CUE the exit after "Come boy")
00:00 / 00:30

SOUND EFFECT

Trumpet announcing Cornwall's arrival (from traditional Korean military horns 나각 and 나발))

2.1.1 Cornwall trumpet (CUE "To thy suggestion, plot, and damned practice")
00:00 / 00:10
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SOUND EFFECTS (AND SUBTLE MUSIC)

Night sounds, used throughout Edgar's transformation to Tom, with hound sounds on specific cues

Music source used in 1st hounds cue: "Morphosis" by Park Woojae

2.3.1 Hounds (1st) (CUE Start this a beat or two after summer night sounds starts)
00:00 / 00:24
2.3.2 Hounds (2nd) (CUE "Sometimes with lunatic bans, sometime with prayers, Enforce..."
00:00 / 00:56
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SOUND EFFECT

Morning bird sounds, the next morning

2.4 01 Bird sounds (CUE--After Edgar's exit. Then fade out night sounds manually.)
00:00 / 02:25
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SOUND EFFECT

Trumpet announcing Gonerill's arrival (from traditional Korean military horns 나각 and 나발))

2.4 02 Gonerill Trumpet (CUE--"Who put my man in the stocks")
00:00 / 00:07
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THE STORM

(SOUND EFFECTS)

Storm layer 1: Wind

Storm layer 2: Heavier rain with distant thunder

Storm layer 3: Epic thunder and rain

Storm layer 4: Thunder without rain (continues through the blinding scene, after all other storm sounds have ended)

Specific thunder crash cues:

3.1 01 Thunder Crack (from Youtube "Storm--Thunder Sound effect")
00:00 / 00:07
3.2.1 Crash SFX #3--Thunder crashes (individual ones) (From Youtube "Thunder and lightning...)
00:00 / 00:07
3.2.2 Crash SFX #1--Thunder crashes (individual ones) (From Youtube "Thunder and lightning...")
00:00 / 00:07
3.2.3 Crash SFX #5--Thunder crashes (individual ones) (From Youtube "Thunder and lightning...")
00:00 / 00:04
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MUSIC

Transition from Fool deserting Lear to the blinding scene. Layered over "Storm layer 4: Thunder without rain" (above)

Music source: "Fly to the Sky" by Geomungo Factory

3.7 Beginning of blinding scene. Should end on "Leave him."Geomungo Factory
00:00 / 00:34
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MUSIC

Ending of the blinding scene and beginning of intermission

Music source: "Cycle of the Sound" by Geomungo Factory

3.7.1 End of blinding scene (into intermission)Geomungo Factory
00:00 / 02:11

MUSIC

Beginning of second half, cue to take seats

Music source: "Be a Drift" by Park Woojae

4.1 End of intermissionPark Woojae
00:00 / 00:52
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MUSIC

Next morning, Edgar enters and washes himself in a river, feeling more hopeful until he sees his blinded father

Music source: "Dream of the Tree" by Geomungo Factory

4.1.1 Beginning of 2nd half from "Dream of the Tree" with birdsong added at endGeomungo Factory
00:00 / 00:40
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MUSIC

Cordelia returns with an army, searching for Lear, and goes through reports of possible sightings before a scout brings a sketch and description of Lear that she recognizes

Music source: "Remembrance of Greenland" by SooEun Kwak

4.3 Cordelia returnsSooEun Kwak
00:00 / 00:33

MUSIC

Edmond and Gonerill flirt on their travels. (Picture is of Albany confronting Gonerill afterwards.)

Music source: "Sori" by Donald Reid Womack

4.2 Gonerill and Edmond travelDonald Reid Womack
00:00 / 00:34
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MUSIC

Transition into the Dover scene

Music source: "Remembrance of Greenland" by SooEun Kwak

4.5 Beginning of Dover sceneSooEun Kwak
00:00 / 00:07

SOUND EFFECT

Gloucester listens to the wind as he prepares to throw himself off the cliff

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SOUND EFFECT

Cordelia and Lear lead their army into battle (this continues underneath the battle sounds in the next cue).

4.6 Drums for battle march (looped)
00:00 / 01:41
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MUSIC

Gloucester listens to the sounds of the battle.

Music source: "Dancing with Spirits" by Donald Reid Womack

5.2.1 Battle--"Dancing with Spirits" plus battle sound effectsDonald Reid Womack
00:00 / 00:43
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SOUND EFFECT

Duel between Edmond and Edgar (just a drum loop)

4.6 Drums (same as Battle March, looped)
00:00 / 01:41
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MUSIC (Practice track for the cast's final song, sung here by me)

Transition from the world of Lear back to hospital, and cast sings a final curtain call song.

Music sources: "Split" and "Remembrance of Greenland" by SooEun Kwak and "Fly to the Sky" by Geomungo Factory

Lear Ending (with practice vocals)Lauren Ash-Morgan / SooEun Kwak / Geomungo Factory
00:00 / 03:31
 
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The Fool's songs

Composed by me, using the lyrics that are in the play.

(I recorded these as practice tracks for our Fool, Chris.)

Fool's song "He that has an a little tiny wit"
00:00 / 00:37
Fool's song "Mum, mum"
00:00 / 00:07
Fool's song "Fools hath ne'er less grace in a year"
00:00 / 00:10
Fool's song "That sir which serves and seeks for gain"
00:00 / 00:33
Fool's song "Then they for sudden joy did weep" faster version
00:00 / 00:10
Fool's song "Then they for sudden joy did weep" alternate version
00:00 / 00:13

Spotify playlist of pieces of music used in the show. Please explore these artists and their albums!:

The Merchant of Venice
Seoul Shakespeare Company, 2018

(Directed by Michael Downey)

 

This production featured all live music, with no recorded sound whatsoever. As it happened, several musically talented actors auditioned for the production, so Michael came up with the idea of an ensemble comprised of Portia's servingwomen and Nerissa, who would provide music during the pre-show, perform a mood-setting song at the beginning of each half of the show, entertain Portia and her suitors with music, and provide incidental music from backstage. At the end of the show's first half, they were joined by several of the male actors, singing from backstage. Most of the music was genuine early music and old folk songs, and many of the pieces were based on recordings by Custer LaRue and the Baltimore Consort (I've been a fan since high school). I chose and arranged the music, and directed music rehearsals, with Michael's input. The one piece that I composed myself was Portia's song (which I also sang as Portia). 

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PRE-SHOW MUSIC CLIP

A clip from the pre-show: "J'ai vu le loup" instrumental version (recorded during the final performance). During the thirty minutes before the show, Portia's three servingwomen and Nerissa played instrumental versions of the pieces used in the show, as well as some improvised music.

"J'ai vu le loup" (instrumental pre-show version)Angie Ahn, Heather Anne McRae, Katy Wood, Mira Weidman
00:00 / 01:41
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MUSIC

Opening song, "Fare Ye Well, Lovely Nancy"

"Fare Ye Well, Lovely Nancy"Angie Ahn, Heather Anne McRae, Katy Wood, Mira Weidman
00:00 / 02:14
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MUSIC

Transition: In Venice Antonio exits, heartbroken at Bassanio's interest in Portia, while in Belmont Portia enters laughing, throws off her mourning clothes, and vents to Nerissa about her suitors

Transition: Portia 1st entranceHeather Anne McRae (violin), Lauren Ash-Morgan (Portia)
00:00 / 00:12
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MUSIC

Portia's servingwomen play welcome music as they wait for Morocco to arrive, give up with some relief, and then are caught off guard as he enters.

Morocco entranceHeather Anne McRae, Katy Wood, Mira Weidman
00:00 / 00:40
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MUSIC

Transition: Morocco, Portia, Nerissa, and the servingwomen exit. (Continues straight into the next music cue, "Schiarazula Marazula.")

Morocco exitHeather Anne McRae, Katy Wood, Mira Weidman
00:00 / 00:12
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MUSIC

Transition: Shylock throws Lancelot out

Tune: "Schiarazula Marazula"

"Schiarazula Marazula"Heather Anne McRae (violin), Katy Wood (flute), Lauren Ash-Morgan (drum)
00:00 / 00:16
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MUSIC

Transition: Lancelot exit

Tune: "Schiarazula Marazula"

Transition: Launcelot exitHeather Anne McRae (violin), Jason Cutler (Lancelot)
00:00 / 00:10
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MUSIC

Transition: Jessica exit 1

Tune: "Fare You Well, Lovely Nancy"

Transition: Jessica 1Heather Anne McRae (violin), Carrie Jo van der Walt (Jessica)
00:00 / 00:13
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MUSIC

Transition: Jessica exit 2

Tune: "Fare You Well, Lovely Nancy"

Transition: Jessica 2Heather Anne McRae (violin), Carrie Jo van der Walt (Jessica)
00:00 / 00:13
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MUSIC

Transition (covering a costume change from Salerio to Morocco): Nerissa and the servingwomen play welcome music as they comedically wait for Morocco and Portia to arrive in the casket room

Transition: Morocco costume changeAngie Ahn, Heather Anne McRae, Katy Wood
00:00 / 00:36
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MUSIC

Transition: Portia and her women exit, relieved, after Morocco chooses the wrong casket and storms out. (Also covers Morocco's lightning-fast costume change back to Salerio.)

Transition: Morocco final exitAngie Ahn, Heather Anne McRae, Katy Wood, Mira Weidman
00:00 / 00:13
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MUSIC

Nerissa plays welcome music as Arragon enters through the audience

Arragon entranceAngie Ahn (guitar), Charles Jeong (Arragon)
00:00 / 00:22
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MUSIC

Arragon demands some music from Nerissa

Arragon: "Música!"Angie Ahn (guitar), Charles Jeong (Arragon)
00:00 / 00:16
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MUSIC

Nerissa makes Arragon jump as he opens the silver casket

Arragon opens the silver casketAngie Ahn (guitar), Charles Jeong (Arragon)
00:00 / 00:19
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MUSIC

Arragon reads the silver casket's scroll

Arragon reads the silver casket's scrollAngie Ahn (guitar), Charles Jeong (Arragon)
00:00 / 00:46
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MUSIC

Transition music: Bassanio, Gratiano, Portia, Nerissa, and the Servingwomen enter the casket room

Bassanio enters and approaches the casketsAngie Ahn (guitar), Lauren Ash-Morgan (Portia)
00:00 / 00:31

MUSIC

Portia's song, "Tell Me Where is Fancy Bred"

Composed by Lauren Ash-Morgan. Lyrics by Shakespeare (as in the scene).

Portia interrupts the casket-choosing music and gives Bassanio a major hint.

Portia's songLauren Ash-Morgan, Angie Ahn, Heather Anne McRae, Katy Wood, Mira Weidman, Jeffrey Wagner (Bassanio)
00:00 / 01:34
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MUSIC

End of the first half, as Bassanio goes to Venice to save Antonio, and Portia prays (and gets an idea)

(Sung by Portia's women, then joined by Portia and the men from offstage)

Song: "Stella Splendens"

"Stella Splendens"Lauren Ash-Morgan, Angie Ahn, Heather Anne McRae, Katy Wood, Mira Weidman, Christopher Zaczek, Charles Jeong, Jeffrey Wagner
00:00 / 01:19
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MUSIC

Beginning of the show's second half

Song: "J'ai vu le loup"

"J'ai vu le loup" (song)Angie Ahn, Heather Anne McRae, Katy Wood, Mira Weidman
00:00 / 01:23
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MUSIC 

(Drumbeat)

Transition: Setting up for the trial

Transition: The TrialKaty Wood (drum)
00:00 / 00:22
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MUSIC

(Drumbeat)

Transition from Bassanio and Antonio after the trial to Portia and Nerissa leaving Venice

Transition: After the trialKaty Wood (drum), Jeffrey Wagner (Bassanio)
00:00 / 00:15
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MUSIC

Transition: From Portia leaving Venice in tears to Lorenzo and Jessica in Belmont

Tune: "Edward"

Transitions: In such a nightHeather Anne McRae (violin), Charles Jeong (Lorenzo)
00:00 / 00:16
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MUSIC

Lorenzo and Jessica listen to music from Portia's house and reconnect after a moment of tension, and Portia and Nerissa arrive home after the trial, their eyes opened to the world outside Belmont.

Tune: "Edward"

"Edward"Heather Anne McRae, Katy Wood, Mira Weidman, Carrie Jo van der Walt (Jessica), Charles Jeong (Lorenzo), Angie Ahn (Nerissa), Lauren Ash-Morgan (Portia)
00:00 / 02:49
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MUSIC

Gratiano jokes with Nerissa, while everyone else is miserable. Jessica leaves, upset, with Lorenzo; Portia and Bassanio exit to share some hard truths; Antonio is left onstage, alone and heartbroken again, before finally exiting. 

Tune: "Fare You Well, Lovely Nancy"

EndingHeather Anne McRae (violin)
00:00 / 01:43

The playlist below contains various recordings that inspired our live music:

Garage
Seoul Shakespeare Company, 2017

(Directed by Michael Downey)

 

Michael chose the music for this production (three songs playing on the radio in Scene 2, and a piece played at the end of the show). I found sound effects for the show (birdsongs, crickets, and various car/truck doors opening and closing). In Scene 2 I edited the three pieces of music for the radio broadcast together, timed to fit the shifting moods of the scene. 

Spotify playlist

(Missing "Angel of the Morning" by Chip Taylor, performed by Melba Montgomery)

The Winter's Tale
Seoul Shakespeare Company, 2017

(Directed by Michael Downey)

 

Aside from the classical piece at the beginning and the song "Andy" used at the end, all the music for this show (Autolycus's songs and all the incidental music) was composed by me. I recorded the incidental music myself, using virtual instruments in Garageband. Michael wanted bells, gongs, slightly eerie sounds, and the feeling of a seaside village. Time's music was designed to fuse a seaside theme established earlier in the show with rhythms from the traditional Korean dance seungmu (which I danced as Time). Bohemia was in 5/8 to be a little off-kilter and again a reference to Korean rhythms. The Bohemians took turns dancing with sheep shears (actually traditional Korean taffy scissors), inspired by a traditional Korean scissor dance. Autolycus's songs were generally inspired by Gilbert and Sullivan, to fit the period and to keep the scenes moving along with some patter songs, rather than stopping the show each time Autolycus sings.

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SOUND EFFECT

During the 30 minutes before the show, as the audience entered, Mamillius played on the stage to the sound of ocean waves.

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MUSIC

Beginning of the show

As the play begins, Mamillius is joined onstage by the adults, standing with their backs turned behind the chalk lines that Mamillius drew during the pre-show. After a surreal pause, everyone breaks into a party. 

Beginning recorded by me, followed by "Concerto for 2 Oboes in F Major Op9 no3, 1 Allegro" by Albinoni, performed by Advent Chamber Orchestra

Opening weird music and classical musicLauren Ash-Morgan / Advent Chamber Orchestra
00:00 / 05:28
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MUSIC

Transition music leading into the nursery scene, which Leontes is about to invade with his accusations

Transition from 1.2 to 2.1 "Sea Chanty 2" (lower octave)Lauren Ash-Morgan
00:00 / 00:34
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MUSIC

Transition music: Paulina approaches the prison

Transition from 2.1 to 2.2: Paulina at the Jail (12-measure version)Lauren Ash-Morgan
00:00 / 00:10
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SOUND EFFECT

Transition: Leontes cannot rest

Transition from 2.2 to 2.3: Clock chime sound
00:00 / 00:18
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SOUND EFFECT

Transition sound: Cleomenes and Dion take a break on their journey from the oracle

Transition from 2.3 to 3.1: Cleomenes and Dion scene
00:00 / 01:05
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MUSIC

Trial scene beginning

Beginning of 3.2 Trial scene (drumbeat)Lauren Ash-Morgan
00:00 / 00:25
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SOUND EFFECT

The bear attack

Bear sounds, edited to build
00:00 / 00:10
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MUSIC

End of the show's 1st half: Shepherd and Clown adopt baby Perdita (and her box of gold)

End of 3.3 (cue after Shepherd's last line) Sea Chanty 2 (Fast only) (down an octave)Lauren Ash-Morgan
00:00 / 00:14
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MUSIC

Beginning of the 2nd half: Time dances

TimeLauren Ash-Morgan
00:00 / 01:52
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SOUND EFFECT

Time exits

Time's exit (cue immediately after Time's last word)Lauren Ash-Morgan
00:00 / 00:09
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MUSIC

"Bohemian dance," used at the beginning of the scene, and for the villagers' sheep-shearing dance.

Bohemian danceLauren Ash-Morgan
00:00 / 02:24
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MUSIC

Transition music: Returning to Sicilia after 16 years

Music source: "Andy" by The Front Lawn (slowed down)

Andy (beginning section), slowed downThe Front Lawn
00:00 / 00:18
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MUSIC

Transition music: The three servingwomen talk excitedly about what has happened.

Transition from 5.1 to 5.2: Sea Chanty--Upbeat thingyLauren Ash-Morgan
00:00 / 00:34
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MUSIC

Statue scene music: Paulina calls for music and the statue "awakens"

The StatueLauren Ash-Morgan
00:00 / 01:54
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MUSIC

End of show

Music source: "Andy" by The Front Lawn

End of show "Andy," The Front Lawn (ending section)
00:00 / 00:58

MUSICAL DRAFTS

A collection of drafts of some tunes for the show, only some of which made it into the production

Sea Chanty 1 (Slow) (very rough draft)
00:00 / 00:41
Sea Chanty 2 (Medium and Fast) (down an octave)
00:00 / 00:47
Sea Chanty 2 (Medium and Fast) (very rough draft)
00:00 / 00:47
Sea Chanty 2 for experimenting with auto rhythmic echoes etc (just an experiment)
00:00 / 00:47
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Autolycus's songs

Composed by me, using the lyrics that are in the play.

(I recorded these as practice tracks for Charles our Autolycus, and for Min and Toni as Mopsa and Dorcas.)

Autolycus Song 1 "When daffodils begin to peer" vocal demo (2x)
00:00 / 01:16
Autolycus Song 2 "But shall I go mourn for that" vocal demo (2x)
00:00 / 01:07
Autolycus Song 3 "Jog on" vocal demo (with 2 possible endings)
00:00 / 00:27
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Autolycus Song 4 "Lawn as white as driven snow" vocal demo
00:00 / 00:24
Autolycus Song 5, with Mopsa and Dorcas, vocal demo
00:00 / 00:43
Autolycus Song 6 "Will you buy any tape" vocal demo
00:00 / 00:21
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Spotify playlist

Since I created most of the music for the show, these are the only pieces of music from the show available on Spotify. The Albinoni piece is by a different orchestra. (The recording we actually used is here.)

Much Ado About Nothing
Seoul Shakespeare Company, 2016

(Directed by Michael Downey)

 

For this production, Michael's directing debut, Michael wanted a light, energetic, exuberant, joyous production, featuring music. We incorporated some live music into the play and I created a sound design based on royalty-free music. At various times Benedick played ukelele, Balthasar played guitar, one of our messengers/watch played flute, and I played drum. I composed the two songs sung by Balthasar. (This was actually my second time composing Balthasar's songs for a production of Much Ado, as I'd composed other versions of these songs for a production I was in at age 18, playing Hero). Our Balthasar also hilariously improvised a different song from offstage every night during one of the scenes. Michael had initially wanted the actors to be a group of traveling players with packing cases, and to put on makeup and costumes onstage before the show, but eventually shifted to the idea of a simple opening song for the cast, and ending the show with a song to replace the jig that would have happened in Shakespeare's time. For the opening song I found Dave Webber's "May Song," (with harmonies I arranged) and for the closing song we used Cloudstreet's "Dance Up the Sun," both of which I taught to the cast and accompanied on drum. I very deliberately made both of Balthasar's songs quite rhythmic, accompanying the funeral song on the drum from backstage, so that the songs would always feel forward-driving.  

Teaser Trailer 
(includes some music from the show)
Music used in the show:
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MUSIC

Opening song (performed live by the entire cast)

"May Song" by Dave Webber

Opening song: "May Song"by Dave Webber, performed by the cast
00:00 / 02:02

MUSIC

"Go from my Window" - popular folksong from the 16th century (arranged by John Dowland)

Transition music into beginning of the party scene

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MUSIC

"Folk Round" by Kevin MacLeod

https://incompetech.com/music/royalty-free/index.html?isrc=USUAN1100357&Search=Search

Party music 1: The dance

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MUSIC

"Pippin the Hunchback" by Kevin MacLeod

https://incompetech.com/music/royalty-free/index.html?isrc=USUAN1400005&Search=Search

Party music 2: Claudio is alone

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Benedick noodles around on the ukelele at various points in the show

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MUSIC

"Sigh No More, Ladies" (performed live by Balthasar, Don Pedrio, Leonato, and Claudio)

Composed by me, with lyrics original to the scene

"Sigh No More, Ladies"Composed by Lauren Ash-Morgan; performed by Jake Kwon, S. Vollie Osborne, Lorne Oliver, Charles Jeong
00:00 / 01:19
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MUSIC

"Tarleton's Resurrection" by John Dowland

Transition music into tricking Beatrice scene, and again in the transition to the next scene.

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MUSIC

"Celtic Impulse" by Kevin MacLeod

https://incompetech.com/music/royalty-free/index.html?isrc=USUAN1100297&Search=Search

End of 1st half: Don John has laid his trap

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MUSIC

"Thatched Villagers" by Kevin MacLeod

https://incompetech.com/music/royalty-free/index.html?isrc=USUAN1100720&Search=Search

Beginning of the 2nd half: The Watch

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MUSIC

"Pippin the Hunchback" by Kevin MacLeod

https://incompetech.com/music/royalty-free/index.html?isrc=USUAN1400005&Search=Search

Wedding procession

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MUSIC

Candle bearers set up the funeral bier, Hero is carried in, Antonio and the Friar enter, and Claudio's group enters

Transition music: Funeral entranceLauren Ash-Morgan (drum), Charles Jeong (Claudio), Alameen (Lord)
00:00 / 01:45

MUSIC

"Funeral Song" (performed live by Balthasar, accompanied by me on drum from offstage)

Composed by me, with lyrics original to the scene

Funeral Song: "Pardon, Goddess of the Night"Jake Kwon (Balthasar), Lauren Ash-Morgan (composer, drum)
00:00 / 01:20

MUSIC

Claudio's group exits the tomb, Antonio helps Hero up, Hero peruses Claudio's epitaph to her, candle bearers take away the funeral bier, (cast members have a secret dance party behind the curtains), transition into the next scene

Transition music: Funeral exitLauren Ash-Morgan (drum), Jason Cutler (Friar Francis), Lorne Oliver (Leonato)
00:00 / 01:20
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MUSIC

Closing song (performed live by the entire cast)

"Dance Up the Sun" by Cloudstreet

Ending song "Dance Up the Sun"by Cloudstreet, performed by the cast
00:00 / 03:15

Spotify playlist for Much Ado

Includes the Kevin MacLeod pieces that we used, plus the original versions of our opening and closing songs "May Song" and "Dance Up the Sun," which we sang live as a cast. "Tarleton's Resurrection" is a different version from what we used, but was the closest I could find.