Digital Booklet - Whiplash (Original.pdf

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Original Motion Picture Soundtrack
The director Damien and I started talking about this score a year before the cameras
rolled. While the original jazz would be somewhat straightforward — I would write to specific
styles and eras — the movie’s dramatic underscore was more of a conundrum. How do you
score a movie that already has so much music in it? We knew it shouldn’t be a big band score,
since there’s enough big band jazz throughout the movie. We knew an orchestral score
wouldn’t fit the vibe of this film. And an electronic score doesn’t make sense in a movie about
musicianship and instruments. Eventually we came up with the idea of building a score using
the techniques of electronic scoring, but using 100% real instruments — in fact, only the
instruments in a big band lineup. Doing so, we would have a score that felt atmospheric like
an electronic score without actually being electronic, and organic to the movie’s existing
soundscape, without feeling like just more big band music.
Our scoring session has to be one of the most tedious ever, as I recorded the score cues
one note at a time. Literally, one note at a time. What this allowed me to do was layer and
manipulate the notes in a way that musicians can’t. The resulting textures are reminiscent of
an electronic score, except every note was either a sax, trumpet, trombone, piano, vibe, or
upright bass. The majority of the notes in this score are slowed down to about 1/3 time,
creating a hellish version of a big band sound. Damien and I joked that it’s like Miles Teller’s
character Andrew is being tortured by the very instruments he makes music with.
Woven into these textures is one familiar melody — the tune that J.K. Simmons’ character
Fletcher plays in the jazz club. The melody appears in almost every score cue, sometimes
clearly stated, sometimes more hidden. It appears in major, minor, and other modes,
depending on the situation. Damien and I love scores that are economical with melody —
scores that establish one or two themes or motives, and use those themes or motives in every
way they can be used. In this case, we found that one versatile melody was all we
needed. The melody tied to Fletcher expressing himself at the piano seemed like the right
melody.
—
JUSTIN HURWITZ
Special thanks from Justin:
Amos Newman, Keith Zajic and Richard Henderson
After being the orchestrator of so many films for the past few years,
it was very exciting to be asked to compose … and in one my favorite
idioms, Big Band Jazz. Working with director Damien Chazelle was truly
an amazing experience. His knowledge of Big Band Jazz made him
communicate exactly what he wanted for each scene, and his
suggestions after hearing my ideas made the compositions that much
better. After screening the film this week, I realized that this young man
is a truly remarkable filmmaker.
—
TIM SIMONEC
Special thanks from Tim: Dominic Buscemi for introducing me to the music supervisor of this film,
Andy Ross, who in turn made this whole experience possible. My kudos to our engineer and mixer,
Michael Aarvold, for his countless hours invested in making this album sound so good.
I want to thank all the European musicians for their remarkable performances and solo work.
I would like to thank Damien and producer Helen Estabrook for making the entire work experience
so pleasurable. Most of all, I want to thank my wife and soul mate, Janet, who has always believed
in me and has been my biggest fan through the 28-plus years of our prolonged honeymoon.
“I WANT TO BE ONE OF THE GREATS”
1.
“IF YOU WANT THE PART, EARN IT”
7.
“HE WAS A BEAUTIFUL PLAYER”
18.
Rehearsal Medley:
snare liftoff
[dialogue]
(:43)
2.
overture
(3:19)
Written by
JUSTIN HURWITZ
Written by
TIM SIMONEC
4.
“what’s your name”
[dialogue]
(1:30)
8.
practicing
(1:43)
Written by
JUSTIN HURWITZ
Written by
JUSTIN HURWITZ
Written by
JUSTIN HURWITZ
11.
12.
13.
9.
Written & Performed by
STAN GETZ
Published by Prestige Music (BMI)
“good job”
[dialogue]
(1:28)
19.
intoit
(3:19)
1992 Fantasy, Inc. Courtesy of Concord Music Group, Inc.
3.
too hip to retire
(3:03)
Written by
HANK LEVY
invited
[includes dialogue]
(:54)
10.
20.
whiplash
(1:55)
call from dad
(:40)
accident
(5:21)
Published by Objective Music Co. and Hank Levy Jazz LLC (BMI) and Administered by Exclusive Taste Music
2014 Cutting Edge Music (Holdings) Limited, Licensed Courtesy of CEG Rights, B.V.
Performed by
NICHOLAS BRITELL
and
JUSTIN HURWITZ
Written by
JUSTIN HURWITZ
Produced by
NICHOLAS BRITELL
Published by Lake George Entertainment LLC (ASCAP) & Justin Hurwitz Publishing Designee (BMI)
2014 Lake George Entertainment LLC
no two words
(1:41)
first nassau band rehearsal /
second nassau band rehearsal /
studio band eavesdrop /
studio band rehearsal after breakup
(1:34)
24.
Written by
TIM SIMONEC
5.
fletcher’s song in club
(1:28)
Written by
JUSTIN HURWITZ
6.
Written by
JUSTIN HURWITZ
Written by
JUSTIN HURWITZ
Written by
JUSTIN HURWITZ
14.
15.
Written by
DUKE ELLINGTON
&
JUAN TIZOL
Arranged by
JOHN WASSON
Published by EMI Mills Music Inc. (ASCAP) & Sony/ATV Harmony (ASCAP)
2014 Cutting Edge Music (Holdings) Limited, Licensed Courtesy of CEG Rights, B.V.
caravan
(9:14)
hug from dad
(1:14)
21.
Written by
JUSTIN HURWITZ
Produced by
NICHOLAS BRITELL
22.
when i wake
(3:50)
drum & drone
(1:34)
carnegie
(:36)
Written by
JUSTIN HURWITZ
23.
casey’s song
(1:57)
upswingin’
(2:12)
Written by
JUSTIN HURWITZ
Written by
JUSTIN HURWITZ
16.
Written by
TIM SIMONEC
ryan / breakup
(:31)
drum battle
(2:10)
dismissed
(2:46)
Published by Cutting Edge Music (Holdings) Limited (PRS)
2014 Cutting Edge Music (Holdings) Limited, Licensed Courtesy of CEG Rights, B.V.
Written by
JUSTIN HURWITZ
17.
Written by
JUSTIN HURWITZ
Executive Producer for Varèse Sarabande Records:
Darren Blumenthal
Score Produced and Orchestrated by
Justin Hurwitz
Music Recorded and Mixed by
Michael Aarvold
Music Editor:
Richard Henderson
• Music Supervisor:
Andy Ross
Music Clearance & Licensing:
Chris Piccaro
Music Business & Legal Executive:
Charles M. Barsamian
Music Consultants:
Anna Granucci
&
Tara Moross
Associate Producer:
James Gibb
• Music Services by
Cutting Edge
Bold Films Executive in Charge of Music:
Richard Walters
Art Direction for Varèse Sarabande Records:
Bill Pitzonka
• Mastered by
Michael Aarvold
Damien Chazelle would like to thank Tim Simonec, Justin Hurwitz, Andy Ross,
Tamara Gagarin, Michael Aarvold, Richard Henderson and Jasmine McGlade

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