# Omnibus Progression in Filmscore



## Roland Mac (Jul 3, 2007)

I find this type of progression to be really effective when used at climatic moments of romantic music. Chopin's Nocturne 27/1, Liszt Transcendental Etude 10 are just two of my favorite examples.

Any interesting examples in modern filmscore?

Btw, for those not family with this progression, I will attempt to explain it (though forgive me if this isnt entirely acurate).

Ombinus technique is actually a progression created out of voice leading (which is often the case is seems). It occurs when the bass and soprano move in contrary motion towards a cadence. Often the voices move chromatically... particularly in the bass Iv observed. The resulting harmonic progression that results from this chromatic voiceleading is highly chromatic. Examples can be found as early as Mozart, but is more common in the romantic literature.

Again, please forgive me if this explanation isnt entirely acurate.

RM


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## StrangeCat (Jul 6, 2007)

I always find it funny that they have to give everything damn name! 
To me it's just common voice leading chromatically but no they have to give this progression a name LOL! I suppose they will give all progresison and voice leading formula a name at somepoint.

yes I use it a lot when doing romanitic styles too.
Generally creating a 6/4 Cadence as an ending or even more larger suspension with more chromatism to an imperfect cadence, then changing keys(fun stuff) 

Basically your talking about a full 4 voice leading, All voices moving ascending order except the bass moving in descending order. It's a very colorful way to create a cadence with V7 and others.

I actually don't know what film has it though, I mean you would have strings and winds ascending with cello and basses descending, maybe a suspending horn to resolve. maybe bassoons also follwing basses depends I guess. Or is there film piano music your talking about with that progression?


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## Roland Mac (Jul 7, 2007)

Yeah, lol, I know what you mean about naming stuff. I always considered this to be an example of voiceleading chords. But now its a progression!

The definition seems to be pretty loose. But I think the important aspect is the contrary motion of bass and soprano (mostly chromatic) towards a cadential goal. Voiceleading chords are pretty cool, especially when one ventures out a little. Liszt's Nuages Gris has some pretty made stuff in it.

This kind of thing interests me particularly as it can be a great way to come up with interesting harmonic progressions that defy the typical cliches.

As for examples in filmscore, I didnt really have a particular example in mind. I was just wondering if anyone could think of novel uses in modern scores. If not, perhaps this is an area to experiment with?

RM


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## StrangeCat (Jul 7, 2007)

When I hear film scores from hollywood I never hear of any V to I relationships. It's always modes and whole tone scales, chromatic scales etc. Modes in the Celtic Style seem to be the most popular. I acutally look at film music now as being very simplistic when it comes to the music with large arrangements that double and spread out to create large sounds. Simple melodic lines that are supported by larger harmonic extensions. But John Williams does some awesome things in Harry Potter Movies with those arrangements! 

yea in film scores i think it would be a way to add more color with timbres that have that sound, so if we have winds moving chromatically up word then we can also have some harp Gliss chromatically and have Strings as Tremelo suspened , with basses moving down everything to get to the resolved note.
that sounds more filmy^_- through in some chimes wtih the harp too.

Of course one could compose a Romantic piano piece and use that progression, that piece could be used as theme for the film etc. I haven't heard any original good romantic music in any films lately. But it depends on the film you watch. 

So yea I think it's the arrangement that will take advantage of the progression.


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## Roland Mac (Jul 9, 2007)

Agreed, I love the Williams / Harry Potter score. The main theme is VERY late romantic with its use of the tritone melodically, and the chromatic third relations in the harmony. Actually, the melody from that theme is based on one of Mendelssohn's 'Songs without Words'. Well, Im sure Williams would disagree, but its pretty obvious.

Tiz a cool score though, none the less.

Speaking of modal progressions... I listened to a piano piece by Sibelius the other day. Sounded just likes something Thomas Newman would write! In mixolydian mode. I think it was one from Op 75.

RM


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## Roland Mac (Jul 9, 2007)

Hear, take a listen to this. If William's didnt base his Harry Potter theme on this, then I'll eat my hat... marinaded in Reggae Reggae sauce! :lol: 

http://download.yousendit.com/4F6DC5A30C30106B

RM


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## StrangeCat (Jul 11, 2007)

Hey he might have! ahaha who knows. 
It's easy to listen to something then hear the echo of what you heard in your head then compose muisc have that echo influence what you are writing. 
More then the compositions i just love the arrangements for Harry Potter. All first three movies have great colorful arrangements. And yea I love the use of the tritone in the theme too. It works for it's arrangement. I thought it was genius how he composed the theme for Gildaroy Lockheart(spelling books are not hear me) It totally fit his character HA! Nice to see a step away from the Huge Octave strings with brass and have nice light and embelished winds with bells and strings very nice change.

It's funy because I am composing this impressionism piece for piano and as I compose it I feel like i hear Debussy in my head does that mean that I am writing what Debussy has already written or am I being influenced by him. All composers have there own voice no matter the style you write it. 

If you composed a sonatina in G with broken legato bass and melody on D with a chromatic turn then D sharp to E now in with bass in C 6/4 would that be Mozart? the we could keep going, up to G with Bass in D 7 and back down to D with G in the bass etc.... 

No it's simple Classical formula of that time.

Cool discussions! Didn't know that about Harry Potter Theme.


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## Roland Mac (Jul 12, 2007)

The Harry Potter score is arranged wonderfully, I agree. It really captures the 'magical' aspect of the story. Most memorable for me were the bells (synthetic I think) and the blustery strings. Very good stuff. Some really strong themes too. And as you say, an avoidance of many of the Hollywood cliches!

I shall be interested to see whether any of William's original themes will be recapitulated further on in the series. Indeed, the last film didnt feature any of them, right? Perhaps the 'vibe' of the films has changed to such an extent that they are no longer applicable? I guess this must be one of the major difficulties when writing for series like this - writing themes that can be mature and adapt along with the movies themselves.

I often wonder if these will be the master works of tomorrow. Will they look back on todays filmscores as we look back on the ballets and operas of yesteryear? I would certainly like to think so.


"If you composed a sonatina in G with broken legato bass and melody on D with a chromatic turn then D sharp to E now in with bass in C 6/4 would that be Mozart? "

You're so right. And ofcourse, I wasnt implying that William's had attempted to immitate Mendelssohn... rather that he conveniently adapted the Mendelssohn melody for his own needs.

Mozart is actually a great example, as he had so many little cliches. You might think that immitating a Mozart sonata allegro would be easy... yet its impossible! Iv tried, lol. It always sounds like a nod to Mozart rather than the compose himself. Alberti bass accompaniment, cantibile melody decorated with trills and little chromatic apoggiaturas, etc. All the cliches, but still without that 'voice'.

I think that Chopin is another example of this. You'd think it relatively easy to immitate a simple Chopin mazurka or nocturne. Not so! First of all, these pieces have hiden complexities (usually in the form of subtle polyphony) that arent immediately obvious. But more than that... you can use all the write materials yet still sound nothing like the composer himself.

Perhaps this one type of genuis in music? Where the god given voice is unmistakable, completely uncontrived and utterly impossible to immitate by others!

Debussy is yet another instance. He and Ravel seemed to use a very similar musical language, but could they be mistaken for one another? Not a chance! Rachmaninov and Scriabin? No way! Beethoven and Haydn? Not a prayer.

Indeed, perhaps this is the mystical aspect of music that defies explanation?

Makes me want to immitate less and sit in the garden, humming what comes into my head more! Maybe this is the ONLY way to find ones own voice - listening to the music in your head rather than that composed by others?

RM


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## StrangeCat (Jul 12, 2007)

"Most film music is to simplistic to even compete with great classical masterpieces."
Your trying to satisfy a Client not write the Great Opus^_-

yea I am going to be seeing Harry Potter Movie 5 hopefully soon 4 did use John Williams main theme but it was arranged to more minor sounding and darker.

take away the Harry Potter theme and you have taken away the feel of the show!

Mozart is actually a great example, as he had so many little cliches. You might think that immitating a Mozart sonata allegro would be easy... yet its impossible!

Na not impossible.

Iv tried, lol. It always sounds like a nod to Mozart rather than the compose himself. Alberti bass accompaniment, cantibile melòÝ   \Î3Ý   \Î4Ý   \Î5Ý   \Î6Ý   \Î7Ý   \Î8Ý   \Î9Ý   \Î:Ý   \Î;Ý   \Î<Ý   \Î=Ý   \Î>Ý   \Î?Ý   \Î@Ý   \ÎAÝ   \ÎBÝ   \ÎCÝ   \ÎDÝ   \ÎEÝ   \ÎFÝ   \ÎGÝ   \ÎHÝ   \ÎIÝ   \ÎJÝ   \ÎKÝ   \ÎLÝ   \ÎMÝ   \ÎNÝ   \ÎOÝ   \ÎPÝ   \ÎQÝ   \ÎRÝ   \ÎSÝ   \ÎTÝ   \ÎUÝ   \ÎVÝ   \ÎWÝ   \ÎXÝ   \ÎYÝ   \ÎZÝ   \Î[Ý   \Î\Ý   \Î]Ý   \Î^Ý   \Î_Ý   \Î`Ý   \ÎaÝ   \ÎbÝ   \ÎcÝ   \ÎdÝ   \ÎeÝ   \ÎfÝ   \ÎgÝ   \ÎhÝ   \ÎiÝ   \ÎjÝ   \ÎkÝ   \ÎlÝ   \ÎmÝ   \ÎnÝ   \ÎoÝ   \ÎpÝ   \ÎqÝ   \ÎrÝ   \ÎsÝ   \ÎtÝ   \ÎuÝ   \ÎvÝ   \ÎwÝ   \ÎxÝ   \ÎyÝ   \ÎzÝ   \Î{Ý   \Î|Ý   \Î}Ý   \Î~Ý   \ÎÝ   \Î€Ý   \ÎÝ   \Î‚Ý   \ÎƒÝ   \Î„Ý   \Î…Ý   \Î†Ý   \Î‡Ý   \ÎˆÝ   \Î‰Ý   \ÎŠÝ   \Î‹Ý   \ÎŒÝ   \ÎÝ   \ÎŽÝ   \ÎÝ   \ÎÝ   \Î‘Ý   \Î’Ý   \Î“Ý   \Î”Ý   \Î•Ý   \Î–Ý   \Î—Ý   \Î˜Ý   \Î™Ý   \ÎšÝ   \Î›Ý   \ÎœÝ   \ÎÝ   \ÎžÝ   \ÎŸÝ   \Î Ý   \Î¡Ý   \Î¢              òÝ   \Î¤Ý   \Î¥Ý   \Î¦Ý   \Î§Ý   \Î¨Ý   \Î©Ý   \ÎªÝ   \Î«Ý   \Î¬Ý   \Î­Ý   \Î®Ý   \Î¯Ý   \Î°Ý   \Î±Ý   \Î²Ý   \Î³Ý   \Î´Ý   \ÎµÝ   \Î¶Ý   \Î·Ý   \Î¸Ý   \Î¹Ý   \ÎºÝ   \Î»Ý   \Î¼Ý   \Î½Ý   \Î¾Ý   \Î¿Ý   \ÎÀÝ   \ÎÁÝ   \ÎÂÝ   \ÎÃÝ   \ÎÄÝ   \ÎÅÝ   \ÎÆÝ   \ÎÇÝ   \ÎÈÝ   \ÎÉÝ   \ÎÊÝ   \ÎËÝ   \ÎÌÝ   \ÎÍÝ   \ÎÎÝ   \ÎÏÝ   \ÎÐÝ   \ÎÑÝ   \ÎÒÝ   \ÎÓÝ   \ÎÔÝ   \ÎÕÝ   \ÎÖÝ   \Î×Ý   \ÎØÝ   \ÎÙÝ   \ÎÚÝ   \ÎÛÝ   \ÎÜÝ   \ÎÝÝ   \ÎÞÝ   \ÎßÝ   \ÎàÝ   \ÎáÝ   \ÎâÝ   \ÎãÝ   \ÎäÝ   \ÎåÝ   \ÎæÝ   \ÎçÝ   \ÎèÝ   \ÎéÝ   \ÎêÝ   \ÎëÝ   \ÎìÝ   \ÎíÝ   \ÎîÝ   \ÎïÝ   \ÎðÝ   \ÎñÝ   \ÎòÝ   \ÎóÝ   \ÎôÝ   \ÎõÝ   \ÎöÝ   \Î÷Ý   \ÎøÝ   \ÎùÝ   \ÎúÝ   \ÎûÝ   \ÎüÝ   \ÎýÝ   \ÎþÝ   \ÎÿÝ   \Ï Ý   \ÏÝ   \ÏÝ   \ÏÝ   \ÏÝ   \ÏÝ   \ÏÝ   \ÏÝ   \ÏÝ   \Ï	Ý   \Ï
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## synthetic (Jul 13, 2007)

Sampled bells. That's a very pretty sound. 

I saw HP5 last night. The last two scores seem too reserved to me. There has been (spoiler alert) a big death scene in each one, and I would have liked the music to reflect that with some more oomph. In the latest one, I was asking, "Is he dead? What happened?" The music could have answered that a bit better. In HP4, when Harry walks into the graveyard to face Voldemort with his wand, I felt the music should have gone full throttle, but was reserved instead. I think Johnny would have pushed harder.  

As far as omnibus in film music, would Star Wars (A New Hope) count, when the Jawa's sandcrawler sends down the R2-D2 sucker tube? I just played with that on a string sample and I'm sure I've heard the sound a hundred times for suspense.


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## Leandro Gardini (Jul 13, 2007)

StrangeCat @ Sat Jul 07 said:


> When I hear film scores from hollywood I never hear of any V to I relationships.


Are you sure about that...sorry but there´s V I progression in almost all the scores!!!


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## StrangeCat (Jul 13, 2007)

"Are you sure about that...sorry but there´s V I progression in almost all the scores!!!"


You would hear that strong progression of V to I that would sound very classical which ones do that? Dominate to Tonic Relationship stuff.

Hey I could be wrong i am out of touch with what is happening for Hollywood scores.

I actually haven't stayed in touch with Hollywood film scores as I am finishing a Japanese cd
and stay more intouch with what is happening in Japan for music.

Have you done a film that uses that classic Cadence? I'll put up some gif or something for a sonatina when I have time for fun since were all music geeks^_-


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## david robinson (Jul 13, 2007)

Quote:Makes me want to immitate less and sit in the garden, humming what comes into my head more! Maybe this is the ONLY way to find ones own voice - listening to the music in your head rather than that composed by others? 

hi,
yes, that's the best way.
and it's totally out of sync with these times we live in.
plus, you won't make a lot of money composing i what i would call the most legit way.

i Mozart were alive today, would ge use a DAW?
yes. probably.
would he compose for film? it's likely.
would his film music be used? debatable.
one such as Mozart would like to have his vision left intact, not something that happens with movie scores.
best, david r.


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## Nick Batzdorf (Jul 13, 2007)

Now what the heck is an omnibus progression?!


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## StrangeCat (Jul 13, 2007)

Hey Nick I am surprised you haven't run into that progression or heard about no wait I mean heard about it, of course you have composed it before and used it.
Really it's just full voice leading with soprano, alto, tenor moving chromatically you know tetra chord ascending and the bass descending you see it all the time in Romantic Style music. 
You have to remember that even the bass is moving chromatically.

simple lyrical voice leading stuff^_- 
Guess I'll work on some music


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## Patrick de Caumette (Jul 14, 2007)

The Wikipedia definition:

The omnibus progression is a sequence of chords which effectively divides the octave into 4 equal parts. Smooth chromatic voice leading lends a lyrical quality to this progression, resulting in its presence in much of the repertoire, including Brahms Opus 116, no. 3.
This progression features a fully chromatic descending octave in the bass, and chromatic ascending tetrachords in the soprano, tenor and alto and again finally soprano to complete the structure (other voicings are possible).
[edit]Chords

The chord structure is as follows:
| V7 | p6/4 | applied 4/2 of III7 | III7 | p6/4 | applied 4/2 of bII7 | bII7 | p6/4 | applied 4/2 of bVII7 | bVII7 | p6/4 | applied 4/2 of V7 |

Tetrachord:
A series of four notes, contained within the limits of a perfect 4th. In ancient Greek theory it serves as a basis for melodic construction, in much the same way as the Hexachord functions in modal music and the major and minor scales in tonal music. They fall into three types: the diatonic, semitone-tone-tone; the chromatic, semitone-semitone-minor 3rd; the enharmonic, quarter-tone-quarter-tone-major 3rd. In medieval theory the form tone-semitone-tone was common.


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## StrangeCat (Jul 14, 2007)

"If you composed a sonatina in G with broken legato bass and melody on D with a chromatic turn then D sharp to E now in with bass in C 6/4 would that be Mozart? " 

You're so right. And ofcourse, I wasnt implying that William's had attempted to immitate Mendelssohn... rather that he conveniently adapted the Mendelssohn melody for his own needs" 

Yo Roland Mac! ^_-
I did this tonight man my brain is totally fried now! Ok this isn't that interesting of music. anywayz I will do another but using the same theme formual again to show what I was babbling about.
won't be for week though as i have to get back to the real stuff
Notice the style of this music. This is just an exposition .
yea this is no big deal did it in Sibelius so it's easy nothing to it. 
Sorry can not post the score as it won't show up and I can't post the sib and I can't post midi file LOL what a joke let me try something else...I'll pm ya LOL!
StrangeCat


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## Roland Mac (Jul 17, 2007)

Ed @ Fri Jul 13 said:


> Roland Mac @ Thu Jul 12 said:
> 
> 
> > The Harry Potter score is arranged wonderfully, I agree. It really captures the 'magical' aspect of the story. Most memorable for me were the bells (synthetic I think)
> ...



Mmmm, Im sure I read something where he discussed the use of a particular synth bell sound. Though Im not sure where. Im probably very wrong on that one.

RM


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## Roland Mac (Jul 17, 2007)

Omnibus progression seems to be rather a loose term. I guess my interest is more in voiceleading chords generally, ie, chords resulting through the movement of often independent voices (usually goal orientated) as opposed to those produced to satisfy harmonic 'functions'. These chords can seem random, yet progress as the voiceleading heads towards a particularly 'goal'. In many cases, said goal is a perfect cadence.

Such passages could well be analysed functionally, with the voiceleading being viewed as melodic dissonance. But in other cases, it seems clear that tonal ambiguity is the desired effect (such as in Liszt's Nuages Gris).

I will post a few examples. They will probably be from the piano literature, but that certainly doesnt mean that the techniques and ideas are restricted to instrument alone (rather that my knowledge of keyboard literature is greater than that or orchestral!).

RM


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## Roland Mac (Jul 17, 2007)

Ok, here are a few examples of the techniques Im interested in:

http://download.yousendit.com/5AF56FFF325E4ABC


Chopin Op 27 No 2 and Liszt Transcendental No 10: In these examples, chromatic voiceleading in the bass drives highly chromatic (and in many cases, apparently functionless) chord progressions towards a cadential goal.

Chopin Op 10 No 9: Im this instance, a similar chromatic bass movement occurs which quickly changes to a series of diminished chords with octatonic movement in the upper voice.

Scriabin Op 6: Here we see a more simplistic use of chromatic voiceleading chords. These could easily be analysed as passing notes. Often such voiceleading concludes with a perfect cadence. In this example though, Scriabin uses a tritone root movement (something very common in his music).

Liszt Nuages Gris: In this last example, Liszt creates a highly chromatic and tonally ambigious texture through chromatic voiceleading with little apparent concern for the resulting dissonance. To me, this sounds fresh and interesting even today. Infact, I think that this piece in its entirity is quite amazing for its time. Almost like an early example of impressionism in music. Id be interesting to incorporate some of these ideas into my 'filmscore' pieces.

RM


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## Leandro Gardini (Jul 19, 2007)

StrangeCat @ Fri Jul 13 said:


> "Are you sure about that...sorry but there´s V I progression in almost all the scores!!!"
> 
> 
> You would hear that strong progression of V to I that would sound very classical which ones do that? Dominate to Tonic Relationship stuff.
> ...


Actually I don´t know what makes you think V I progression is a classical one...you may have in your mind only the classical sound of it but actually V I has endless other possibilities of sound...try getting some barroque, romantic, post romantic scores and you see how it has been used in other periods and film music as well!!!


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## Dave Connor (Jul 20, 2007)

StrangeCat @ Thu Jul 12 said:


> While I was watching this Taken I was paying attention to the Score by this Laura chick(forgot last name)... there were some cues that great! (great series too.)



Laura Karpman. 'Taken' is one of the best scores I've ever heard on TV (or anywhere else for that matter.)


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