Unlike sit-coms with clear audio cues or Marvel movies with big, bombastic musical moments, the Succession score refrains from providing a meta-commentary. “You’re not just getting the easy thing,” Silverstein says. But in Succession, where the theme pops up as part of the score throughout episodes, Britell plays it “straight.” In other words, the score subverts expectations and leaves it up to viewers to determine a scene’s mood or subtext. #Struggle session theme song tv#In TV shows, the music becomes its own kind of recurring character, with themes that are expanded and adjusted as needed to match the tone of each scene over the course of many episodes. It also matters that the music matches-and elevates-the experience of watching the show. Silverstein calls out the 808s (a popular drum machine sound), detuned piano (piano intentionally made to sound out-of-tune), audio-processing filters (more technical composition tools) and “gritty” strings that all come together in a way that’s “not as sweet and glossy as you might get in other soaring themes.” This is no Downton Abbey, gilding an image of a genteel patrician family, but rather something less polished and pleasant, reflecting the nastiness of the Roy family dynamics. The theme mixes Britell’s expertise in classical composition with his background making hip-hop beats, layering the two styles. Then there’s the structure and sonic texture of the music itself. The result: theme music that sounds different, and therefore more memorable. You’re not just a line cook, you’re a chef,” he speculates of Britell’s approach. “It’s a composer’s most ideal situation, because you get to come up with the creative landscape. But Succession has none of that sense of reproduction. Often, TV and film music is initially filled in with what’s called a “temp track,” a placeholder that a composer will then re-produce in what Silverstein calls a “paint-by-numbers” approach. That established background may have provided him important creative leeway. Britell is known for his distinctive film scores: he’s behind the sound of movies like The Big Short, Moonlight and If Beale Street Could Talk.
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