Definition
The film choir is the use of the choir (real or sampled) in soundtracks, trailers and video games to evoke the sacred, mystery, the epic, danger or innocence. The most imitated model is “O Fortuna” from Carl Orff's Carmina Burana (1937); in modern cinema the references are John Williams (Duel of the Fates, 1999, with a text drawn from a Sanskrit translation of a Welsh poem), Howard Shore (The Lord of the Rings, with texts in Tolkien's languages), Hans Zimmer, Ennio Morricone, and trailer music houses (Two Steps from Hell).
Text
- Liturgical Latin: Dies irae, Requiem aeternam, Kyrie, Agnus Dei; an immediate sacred or apocalyptic atmosphere.
- Pseudo-Latin or invented languages: syllables chosen for their sound (much trailer music).
- Real languages of other cultures: to be used with respect and with the translation checked.
- Vowels alone (“ah”, “oh”, “oo”, “mm”): neutral, effective for pads and emotional moments.
- Broken words and rhythmic syllables (“ta”, “ka”, “dom”): for percussive ostinatos.
The Gregorian melody of the Dies irae is quoted in countless soundtracks as a sign of death or menace.
Choral colors and their functions
- Male choir in unison in the low register (D2–A3), “oh” or Latin: menace, power, monks, warriors.
- High female choir (sopranos on “ah” between G4 and G5): ethereal, angelic, nostalgic.
- Boys' voices (children): innocence, unease if used in horror contexts.
- Full mixed choir at fortissimo: apocalypse, climax.
- Soloist (soprano, ethnic voice): intimacy, mourning, solitary heroism.
- Whispers, breaths, rhythmic speech: suspense and horror.
Writing techniques
- Unisons and octaves for power (the typical epic choir often sings in octaves, not in 4-part harmony).
- Open chords (bare fifths, sus chords) for an archaic sound.
- Clusters for tension and mystery.
- Syllabic ostinatos in staccato over percussion and strings.
- Crescendo on a held vowel toward an orchestral hit.
- Doubling with brass: male choir and horns or trombones on the same notes for an enormous sound; female choir with high strings.
Example in D minor (trailer)
- Strings in spiccato ostinato on D (i).
- Male choir in unison in octaves (D2–D3) on rhythmic Latin syllables, 2-bar phrases.
- Progression Dm–Bb–Gm–A (i–VI–iv–V, with the major dominant taken from the harmonic minor).
- Climax: mixed choir at fortissimo on “ah” with sopranos on A4–D5, brass in unison, epic percussion.
Virtual choirs
Widely used libraries: EastWest Hollywood Choirs (and Symphonic Choirs) with the WordBuilder system for making sampled syllables sing words; Spitfire Audio (including dedicated choral libraries, such as the one with the Eric Whitacre Singers); 8Dio; Soundiron; Strezov Sampling. Tips:
- use vowel patches for pads and pre-recorded syllables/phrases for rhythmic moments;
- draw the CC1 (dynamics) as you would for strings;
- alternate male and female patches instead of always using the “full choir”.
Recording a real choir
- A choir of 16–60 voices in a hall with a main pair (Decca tree or spaced pair) and section microphones.
- Multiple passes or separate sections are often recorded for control in the mix.
- On a reduced budget: a small choir (8–12) recorded 2–4 times, combined with libraries.
Mixing
- Long hall reverb (2.5–4 s) or the natural space of the hall; the choir works “distant”.
- The choir must be balanced against the brass: if the brass is loud, the choir gets lost (you need more voices or EQ in the 2–4 kHz presence range).
- HP at 60–100 Hz on female choirs, keep the low end of the male bass choir.
Practice exercise
Write a 32-bar trailer cue in D minor: 8 bars of ostinato strings and whispered male choir, 8 of male choir in unison on Latin syllables with doubled horns, 8 of build with mixed choir crescendoing on “ah”, 8 of climax with full choir and orchestra. Realize it with a choral library and a strings and brass library.
Links
Advanced SATB Choral Writing, Leitmotif and Themes, Orchestral Doublings and Blends, Orchestration with Virtual Libraries in the DAW, Vocal Fry and Extended Techniques.