Music in Film

Film uses music because we’re hard wired to emotively respond, and music is the vehicle which allows us to feel and express this innate response.  

I began writing for Orchestra when as a Board member for the Peterborough Symphony Orchestra (1989-91), we were searching for appropriate music for a Children's Concert. I suggested that I could write something for a local musician, Washboard Hank (Hank Fischer) & his sidekick, Fiddlin’ John (John Hoffman) who were well known locally for their performances.  So, I met with Hank & in collaboration we pulled together an amazing performance of “The Little Engine that Could”, at the Thomas Stewart Auditorium, in the Spring of 1992.

We sat in Hank & Jo-Ellen’s kitchen & listened to an old 45 rpm of a 1924 railroad song, which Hank happened to have in his collection.  I loved it! So, it became the main theme for the “Little Engine”, which was scored for the violins. It was great fun attributing harmonic chordal tonalities to the “Shiny New Engine”, and the “Old Rusty Engine”. As Hank is a great story-teller, along with his one-man-band schtick, side-kick, Fiddlin’ John, an orchestral score which supported the narrative, the story was very engaging for the families in the audience. Years later, Hank confessed that performing with the orchestra was the highlight of his career!

I cut my compositional teeth on three 3 Children’s Musicals for St James Player’s - a well known community group whose goal is to produce musicals in the Peterborough community every year.

• Daisy & the Dragon - Hazel Rouse & Karen Locklin

• Marigold - Kerrylynn Parsons & Karen Locklin

• Grandmother’s Attic - Kerrylynn Parsons & Karen Locklin

The first time I presented my music to the ensemble, the response was incredible.  They loved the songs, and as children’s responses are pure and honest, it was incredibly rewarding. So, I kept writing!

Writing with intention and for specific purposes is a win-win for all involved!