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I know some people often kind of find themselves doing a lot of white note stuff, sort of A minor and D minor 9 and getting back to C major, but I tend to find myself going around the flat keys so I’ll find myself in G minor and E flat major 7, that sort of relative major of it. Yeah, I’ll have to get back to you on exactly what, but definitely it’s one of the keys that I reach for because I think that most people have got a point that they naturally go to on the keyboard. There are things that you reach for… There are bits of Sherlock in G minor as well (plays chords on his keyboard). MP: Oh God now you’ve put me on the spot. MJW: That sounds fantastic! Have you ever composed in G Minor? Then it would have to be B minor because of Bach’s B Minor Mass, and then I’d change my mind to D major for “Zadok The Priest,” so yeah, go through all the keys basically. I would be G minor for the next 20 minutes. It would be… I think I would be in G minor after Purcell’s Dido and Aeneas, “Dido’s Lament,” which is a sad choice but also just incredibly noble, a kind of grounded, coat collar turned up, windy day choice. There is a certain obliqueness.” So if you were a key, what key would you be and why? MJW: He says, “It’s rather dour, half way between complex and stable, between upright and lascivious, between gray and highly-tinted.
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MJW: …and he liked to say that if he were any key, he’d be an F minor. Mary Jo Watts: I’m a big Glenn Gould fan… He graciously gave me a couple of hours of his time. They give me permission…Īs I write, Michael is busy working on a solo album for Erased Tapes. His albums, The Hope of Better Weather and A Stillness, mean a great deal to me. He’s got a vast and varied body of award-winning work. He has had a fantastically interesting career as a music editor a music producer film producer (of Delicious, out this summer) a composer for dance, film and TV and a composer of modern classical music for piano and for strings. Michael Price is one of the UK’s most sought-after composers. Together Price and Arnold have composed over nine hours of extraordinary music for Sherlock. That wonderful tune is the tip of the proverbial iceberg. Da da da da da dum… Michael Price and David Arnold call their famous tune by a few names: “The Hero’s Theme,” “Sherlock’s Exterior Theme,” and, officially, “The Game Is On.” It makes me shiver every. That glorious cue that tells us it’s okay to laugh, that it’s okay to find this curious circumstance exhilarating. I think, sometimes, that Molly, too, can hear it. Oh, she winces a bit when the crop makes contact, but not because Sherlock is flogging a corpse. Molly Hooper, his only witness, has no more intention of averting her eyes than we do. Sherlock thrashes and thrashes and thrashes. Sherlock Holmes elevates his arm and whoosh! His riding crop slices the air. Every time I see the scene I feel a confusing zap, a wicked little thrill. By Mary Jo Watts (mid0nz) Michael Price (Used with permission)