Changes

* August 2007 - Winchester Journals:[http://winchester-journals.net/interviews/lennertz.php Sueprnatural musicWinchester Journals Interview with Lennertz]* July 2007 - Winchester Bros:[http://winchester-journals.net/interviews/lennertz.php Scoring SupernaturalWinchester Bros Interview with Lennertz]* May 2007 - [http://www.sequentialtart.com/article.php?id=520 Sequential Tart's Interview with Lennertz]

Gruska, in comparison, has plays a much more melodic hand. He’s the one that helps give the show its big beating heart. While Lennertz tends to be more focused on the scare, Gruska tends seems to be more focused on willing to play the sentiment. I’ve personally grown more accustom to favoring his scoring because I like the He’s created a fairly equal balance he’s seemed to create between the two aspects. What struck me when I first started watching was the amount of actual emotion contained in the show, and how they could balance it in just being real instead of going over the line into the corn most shows would might make it. I’ve found Gruska’s scores to be really integral in all many of the most important scenes, skilled in being just prominent enough to be effective while still being careful enough not to be intrusive. It’s unconscious enough to let a viewer live in a scene alone, but when you are listening for it, you realize why that scene worked so well for you before. It truly LENT lent something to the scene. If you’ve you've developed a connection to these characters and their journeyduring Season One, most likely it’s because of Gruska’s score that has effected you along the way. Of course, because this IS Supernatural, he also plays the needed amount of creepy Lennertz favors so much. But generally, Season One, he's showed more willing willingness to use strings and woodwinds (including some fabulous oboe uses) , especially in terms of sentiment where Lennertz leans more on the use of lone piano keys. He’s It was also more likely to use hear an acoustic guitar for Gruska's score (as opposed to Lennertz's electric) and as well as less-commonly used folk instruments to make create a much more rustic Midwestern sound for the show. 

By Season Two, the scoring had evolved into a much more integrated sound. Gruska could be heard using electric guitar melodies similar to those used by Lennertz in Silly Brothers Theme and the End Credits. Lennertz could now be heard turning to an acoustic guitar similar to Gruska's use in ''Scarecrow'' ([[1.11]]) and ''The Benders'' ([[1.15]]) to codify the Roadhouse (first notably introduced in [[2.02]]) and give the show a help lend more of that Midwestern soundto the show. Additionally, Lennertz's score was seen seems to have evolved in terms of timbre expansion , with a more liberal use of strings, (such as that the gorgeous piece heard in during the Winchester Reunion reunion in ''All Hell Breaks Loose (Part 2)'', ) and a willingness to implement woodwinds (for such sweet-sounding scores as those heard in ''What Is And What Should Never Be'' ([[2.20]]) . Meanwhile, Gruska seemed to have not only experimented with different sounds but also could be heard establishing an increased musical presence, especially in the case of scene transition cues(such as those in ''Croatoan'' and ''Playthings''). Still, we saw patented Lennertz responsible for the exhilarating tension and suspense of the season, such as that seen in ''Nightshifter'' ([[2.12]]) and ''Born Under A Bad Sign'' ([[2.14]]), and classic Gruska in the emotionally-driven scenes of ''Heart'' ([[2.17]]) and ''Croatoan'' ([[2.09]]).

While overall, I tend to believe the consistency of the influential scoring in the second season had waned, it also contained some of the series most excellent standout momentsof the series, especially in the pieces including those written for ''Crossroad Blues'' ([[2.08]]), ''What Is and What Should Never Be''([[2.20]]), and ''All Hell Breaks Loose (Part 2)'' ([[2.22]])by Christopher Lennertz.

And perhaps Perhaps the most noteworthy occasion of the Season Two scoring was hearing Gruska put his memorable melodic presence to work through the excellent usage of the [http://supernatural.oscillating.net/index.php?title=Music&action=submit#Gruska_Motifs Dean Family Dedication Theme]. This theme could be heard in emotional scenes throughout the season, possessing a strong sense of meaning and purpose, adding dimension to the scenes it accompanied, and overall pulling the season together from bookend to bookend.

Just as literature can possess reoccurring themes called 'motifs', so can strains of music within a the score of a film or television show. The tradition of the use of motifs in film score is actually an old idea which was derived from the German composers who coined the phrase, <i>leitmotif</i> ('leading motif') and made the practice popular. While the precise term, 'leitmotif' was first to explain the work of von Weber (1786-1826), it was Wagner (1813-1888) who is most commonly associated with popularizing their usagethe practice. His operas, which early film composers would later look to for inspiration, made liberal use of these leitmotifs, and consequently became a large part of scoring film and television.

The most common use of a musical motif ties a particular melody to a character, which is repeated in reference to that character. More complex motifs which reference feelings or ideas can also occur. They function quite interestingly on a subconscious level for the viewer to recall the visual or visuals previously associated with that melodyand evoke certain emotions because of it.

It's hard to purely quantify what the meaning of a repeated melody on the show might be. Sometimes, it means nothing. Composers on television recycle bits of score all the time. But sometimes a melody will be reused, and has a direct connection with its first use. These are the motifs I've listed belowas they have occurred in <i>Supernatural</i>. Motifs were named purely based on the common thread that all its instances contained.

This theme could be heard in emotional scenes throughout the season, possessing a strong sense of meaning and purpose, adding dimension to the scenes it accompanied, and overall pulling the season together from bookend to bookend. After first appearing in 'Devil's Trap' ([[1.22]]]) to accompany Dean's speech in which revealed his fears for the things he is willing to do for his family, it 's melody becomes the major musical theme of the season two premiere, 'In My Time of Dying' ([[2.01]]). In here, it is most notably paired with John and his silent decision to sacrifice himself to save Dean, suggesting his and suggests that that sacrifice was for Dean in response to everything Dean had given him and Sam over the years. Furthermore, its accompaniment to The Secret tells us of John's belief in Dean and his power to watch over his family. As it is carried throughout the season, the theme references not only Dean's responsibility to keep Sam safe, but also the burden of The Secret, and marks Dean's weariness with this life, both in 'Croatoan' ([[2.09]]) and 'Playthings' ([[2.11]]). During Dean's Wish World in 'What Is', Lennertz quite brilliantly (whether intentional or not) references this theme in a flatten form of the theme's melody right as Dean realizes that the Sam in this world does not like or need him, and signifies the loss of that responsibility. Probably most memorable is its use at the end of 'All Hell Breaks Loose (Part 1)' ([[2.21]]), as Dean holds a stabbed Sam and watches him die in his arms. This use all at once invokes the whole season and all of Dean's dedication towards his family right before your eyes, helping the viewer to mourn with Dean his complete loss of the most important people in his life and subsequent loss of purpose.