Spring, scored

The film is scored and delivered at web loudness: −16 LUFS, true peak −1.5 dB. It had no audio of its own, so the score is all you hear, with no dialogue to duck under.

1M1 "The Forest" (0:24–0:59), fragile to warm. It starts on the first glowing spirit with solo piano alone: a small rising tune in D minor over open fifths.

• 0:31, the spirit passing overhead: a deep low D, and violas, cellos and basses creep in very quietly.
• The girl's frightened close-ups: the harmony leans darker and settles on an unresolved chord just before the bloom.
• 0:46, the crook blooms: the music turns to F major and the solo cello takes the tune for the first time. The violins enter warm and the whole cue opens up.
• 0:54, the cut to the dog: the cue ends on an unresolved chord and fades out before the giant spirits. I left them silent so the release that follows lands harder.

1M2 "Spring" (1:12–1:30), release. A four-second string swell lifts out of the fog and lands exactly on the clouds opening at 1:16. The same tune returns in D major, played full by the violins and cello an octave apart. The piano adds high, bell-like notes over the meadow and ends on a ringing D-major chord.

Players: solo piano, solo cello, and strings: 6 first violins, 6 second violins, 4 violas, 4 cellos and 3 basses. It's mixed on an intimate scoring stage with the piano and cello close.

What to watch for:

• Every part played its written notes. The automatic check heard the forest's first violins as somewhat flute-like and the spring basses as cello-like; give those a listen.
• The spring cue's final chord is cut off when the film ends, after about 3 seconds of its ring. If you'd rather it finish cleanly, I can move it earlier or shorten it.
• The music covers about 55% of the film, a little over the sparse target. The giants, the dark opening and the dog's first scurry are deliberately left silent.