Self Tape 501 - “Build It”

Pretty amazing, isn’t it? So let’s build on that “four-chord song” idea. Below is a video from UK pianist and composer David Bennett, who teaches why this particular four-chord structure works. (HINT: It builds tension then it.) He also shows other four-chord structures that do the exact same thing — building then releasing tension. Before you watch this, I first wanted to explain some basic music composition terms, so you know he’s talking about.

Root chord - This is also called the tonic chord. All music is composed in musical chords. The “root” chord is where the song starts. In music composition, it is identified by the Roman numeral 1 or the capital I. Consider this to be home. It’s where the song feels at peace and in comfort. When composing music, a composer will create tension by moving to other chords that are away from the root chord. In a four-chord song, this movement away (building tension) happens over four chords, then it returns to the root chord, only to repeat the pattern again. In acting terms, imagine the shape of the scene happening over and over — that’s music.

Dominant chord - This is the chord that creates the most tension away from the root or tonic chord. This chord feels very unresolved and tense. In four-chord-songs, this chord is usually but not always the peak of tension (or in our terms “The Event”). In music composition, the dominant chord is identified by the Roman numeral 5, or the capital V.

Sub-dominant chord - This is a chord that creates a lot of tension, but not the most tension away from the root or tonic chord. Like the V or dominant chord, the sub-dominant chord has tension and feels unresolved. This chord can also be the peak of tension (or in our terms “The Event”). In music composition, it is identified by the Roman numeral 4, or the capital IV. This is also known as the “Amen chord,” because it creates tension, and then releases is by going to the root or tonic chord. Imagine listening to a choir singing “Amen.” Notice how it feels tense on the “Ahhhh” part of the chord, and then resolves when you get to the “men” part.

Watch the video below, and notice how David Bennett shows you seven different four-chord-song progressions – all designed to build tension to a dominant V or sub-dominant IV chord and then then release it back to I.

Okay, so let’s get back to acting. My LA acting coach says “Actors are professional builders of tension.” It’s our job to build tension in a scene when we work. When I get a script, I always read through it, looking for The Event. Where does the story change? Does someone give up? Does someone win or lose? Does someone die? Also, how big is the change? Is it big or is it subtle? A lot of scenes have a small build. Maybe your character considers another option. Or perhaps it’s the one point in the film that the main character forgets to turn off the stove because she’s having fun and gets distracted. Either way, that’s The Event. (Or in musical terms, that’s the dominant or sub-dominant chord.) Also, how long is the build? Maybe it’s very quick. Or perhaps it builds over several minutes. Either way, our job is to build the tension to the Event and then turn it. That’s story.

WARNING: This is nothing new. You’ve been doing this since you’ve been with us, and possibly over your entire career. It’s just that we’re going to focus on it this month. Please don’t think you need to re-invent the wheel and completely re-do your entire acting practice.

WARNING II: Remember the primary rule to story: action-reaction. It’s not your job to build the tension all by yourself. Your scene partner is involved. My LA acting coach often talks about building tension in terms of just keeping something in the air — almost like a volleyball player will keep bumping a ball in the air, continuously keeping it afloat, slowly building it, and never letting it hit the ground. Action-reaction: just react to what’s happening.

Let’s learn from a master of keeping a scene afloat — Jason Bateman, playing Marty Byrde in “Ozark.” For your final video, please go to Netflix and watch the pilot of the series. I want you to watch the first two opening scenes — nothing gruesome. It opens with a voiceover of Marty under images of him frantically working and then ends with him, in his Chicago office, making a sales pitch to a prospective client. His goal is to tell them what will happen if they don’t sign with his company. Notice how he just keeps the ball in the air. No hard salespitch. He just keeps them hanging, until his partner comes in to close. That’s the Event, when the couple decides to sign. Now go to the next scene, when he and is partner are looking at office space. His partner loves the space, and Marty is unconvinced. The actor playing his partner is driving the scene, but notice how Bateman just keeps the ball in the air, always building, always creating tension. It’s a very subtle scene, and so challenging to do. But within the hands of professional tension builders, it effortlessly tells us a story.

Finally, how do you build tension in a self-tape? I always feel like using your not-spot is a great choice. You are facing away from your hot-person and focused on something else. That's natural visual and physical space tension. Can a prop help you? Again, getting your focus off of them. How about the Z-axis?

Whatever you do, think about how you can build tension in your scenes this month. Cool?

Okay, so let’s be professional tension-builders!