A composer who deserves all the fame he’s getting is Alexandre Desplat. One of his melodic habits is obsessive chromatic inflection. Then he turns around and does it harmonically, hovering between chords a half step apart. It’s as though he has reinvented the appoggiatura. So, no wonder that I should start getting nervous when my most magical and darkest moment has just arrived in our opera [Angela Peralta] and it has the feeling that it has always existed, and that I just unearthed it. Or did I rip it off from Alexandre? The basic chordal osciallation is:
But there are some juicy chromatic counterpoints in contrary motion that takes it over the top. Or am I transcribing something I’ve heard? I don’t know, I guess I’ll have to listen to all the Desplat music I have to find out. There could be a worse fate.