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1:13

BEHIND THE SCORE PRESENTS

6:49

CHAPTERI: INTRODUCTION / THEME GALLERY

16:12

CHAPTER II: ELEMENTS OF THE SCORE

Gavin Luke - Would You Remember

Gavin Luke - Would You Remember

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Channel: 青苗琴行 Greenery Music Official Channel

Fantasía: Tocata y Fuga (Johann Sebastian Bach)

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Channel: DisneyMusic1992

Yanni - “November Sky”

Yanni - “November Sky”

narnia

harry gregson williams

kingdom of heaven

narnia soundtrack

narnia epic soundtrack

behind the score

ashton gleckman

orchestral

symphonic

film score

film soundtrack

orchestra

violin

viola

cello

bass

orchestration

harmony

music theory

tutorial

cubase

00:00:00

hey guys my name is Ashlyn Glickman and

00:00:01

welcome to behind the score Season 2

00:00:03

episode 8 so some of you may know this

00:00:06

most of you probably won't but The

00:00:08

Chronicles of Narnia The Lion the Witch

00:00:10

and the Wardrobe is my personal favorite

00:00:11

score of all time everything from the

00:00:13

orchestration to the harmony to the

00:00:16

incredible themes all the way to the way

00:00:18

for which it just melds so incredibly

00:00:20

well into the the visual world and then

00:00:23

you have the the battle scene and the

00:00:25

ethnic elements of the choral elements

00:00:27

for me it's just encapsulating that I

00:00:29

love about film music and it's

00:00:31

definitely something that's truly close

00:00:33

to my heart because it's something that

00:00:35

got me interested in wanting to pursue a

00:00:37

film music and so I'm super excited

00:00:39

today to be analyzing a little bit of

00:00:41

the music so we're gonna do this pretty

00:00:43

similarly to how we do it most of the

00:00:45

time so we're going to listen to the

00:00:47

piece of music that I've recreated which

00:00:49

is actually a piece of music from the

00:00:50

ending of the film it's the final six

00:00:51

minutes of the movie and then we're

00:00:53

going to check out the some of the

00:00:56

themes from the film and then go into

00:00:58

some of the composition techniques and

00:00:59

then we will begin to analyze this piece

00:01:02

of music and then we'll go into some of

00:01:04

the technical aspects as well so all

00:01:05

those chapters will be down below if

00:01:07

we're interested but without further ado

00:01:10

welcome and I will see you soon

00:01:13

[Music]

00:02:22

[Applause]

00:02:23

[Music]

00:02:25

[Applause]

00:02:28

[Music]

00:03:04

[Music]

00:03:28

[Applause]

00:03:33

[Music]

00:04:55

[Music]

00:06:52

[Music]

00:06:55

so The Chronicles of Narnia is a series

00:06:57

of books written by the author CS Lewis

00:06:59

and within these stories there's so much

00:07:02

rich character and there's huge

00:07:04

landscapes and there's almost music

00:07:06

written into the text it's so incredibly

00:07:08

multi-dimensional and we're gonna sort

00:07:10

of go through the various themes that

00:07:11

Harry uses to describe different

00:07:13

elements within the story we have fames

00:07:15

like the battle Fame joyful theme the

00:07:18

loosely and Tumnus theme the lullaby

00:07:20

theme the Wardrobe slash magical theme

00:07:22

and then we're going to go into some of

00:07:25

the compositional techniques that Harry

00:07:26

uses within the score so I think the

00:07:29

first thing to do is to just start going

00:07:31

through the themes and to take a look at

00:07:33

be at the the ways for which he

00:07:36

developed the story within the music

00:07:38

just a little bit of a precursor this

00:07:40

score was recorded I believe at Tadeo

00:07:41

which I think was shut down somewhere

00:07:44

like 2007 after the second national

00:07:47

treasure movie Trevor Rabin score and

00:07:50

tada yo isn't a scoring stage so they

00:07:52

recorded Prince Caspian which of course

00:07:53

was in 2008 I think and they recorded

00:07:56

that at Abbey Road studio 1 so the first

00:07:58

thing we're gonna be looking at is the

00:07:59

battle theme or also known as the Narnia

00:08:01

theme it's sort of a very big powerful

00:08:03

theme that sort of describes the world

00:08:05

of Narnia and whenever anybody really

00:08:08

thinks of the Narnia score or the film

00:08:10

in general they usually are going to be

00:08:11

thinking of this tune

00:08:13

[Music]

00:08:32

you

00:08:36

you

00:08:37

[Music]

00:08:56

[Music]

00:09:06

so there's that famous you can tell it

00:09:08

has a very powerful rising feeling to it

00:09:10

and its use during that battle scene and

00:09:12

it's also used during the I think going

00:09:16

to has lens camp that might be the cue

00:09:18

that it's called so the second theme is the the joyful

00:09:21

theme and this is used in quite a few

00:09:23

places

00:09:24

[Music]

00:09:48

don't you worry dear

00:09:50

the brothers got you well looked after

00:09:55

so the next thing that we have is the

00:09:58

Lucy and Tumnus theme and this theme is

00:10:00

used to describe the relationship and

00:10:02

the interesting thing about this theme

00:10:04

is that it's also using the second film

00:10:05

as well but not in the same context

00:10:07

because Tumnus is not around during the

00:10:09

second film so it also has another

00:10:11

element to it as well we're not

00:10:12

completely sure about what what that is

00:10:14

but here is this theme

00:10:16

[Music]

00:10:28

you

00:10:33

so the next theme that we have is called

00:10:35

viola by theme and this theme is played

00:10:38

in the film where Lucy has brought back

00:10:41

the Tom misses house and Thomas has to

00:10:43

play the steam so that the White Witch

00:10:45

knows that a human is you know within

00:10:48

his sights and and you know he had

00:10:50

pretty much made a deal with who I wish

00:10:51

that he has to turn in any human or else

00:10:53

he will be captured by the White Witch

00:10:56

so so this name was played when they're

00:11:00

sitting by the fire because he has to

00:11:03

turn her in so it has a very dark dark

00:11:05

quality to it there's like this

00:11:07

[Music]

00:11:46

so there is that I could tell it's

00:11:48

pretty dark and it has a very

00:11:50

middle-eastern quality as well because

00:11:51

it's played on the de Duke which is a

00:11:53

Middle Eastern instrument and it has

00:11:55

this pedal though like on E and then the

00:11:59

second adduct comes in on that exact

00:12:01

same octave it actually plays it over it

00:12:03

so it's very very sort of nicely crafted

00:12:05

it has a very dark quality to which it's

00:12:07

exactly what it should have contextually

00:12:09

you know because of the way it's being

00:12:11

used of course so this next theme that

00:12:13

we're going to talk about this called

00:12:15

the Wardrobe theme and this is used all

00:12:17

throughout the film and in the second

00:12:19

film as well during very magical moments

00:12:21

and it's a very light feeling I mean of

00:12:24

course the whole entire thing is magical

00:12:26

because you can't really enter a

00:12:27

wardrobe and be in a world full of

00:12:28

speaking beavers and lions but at the

00:12:31

same time you know there are certain

00:12:33

moments in the film that have a certain

00:12:34

have a certain majestic quality you know

00:12:38

and that's sort of what the theme is

00:12:39

used to describe so here is that theme

00:12:42

[Music]

00:13:08

so then it goes off into this second

00:13:10

part which is sort of used throughout

00:13:12

the two films during moments that have a

00:13:13

certain emotional rising element

00:13:17

[Music]

00:13:52

there's a last main theme in the film

00:13:54

that we have is the evacuating London

00:13:56

theme and this has even more of like a

00:13:58

progression but it's used a lot

00:13:59

throughout the two films Prince Caspian

00:14:02

alignment which in the wardrobe and it

00:14:03

goes like this

00:14:05

[Music]

00:14:46

so there are some of the main themes

00:14:48

from the first film

00:14:49

we have battle theme joyful theme Lucia

00:14:52

Tumnus Ola by wardrobe and then the

00:14:55

evacuating London progression so so you

00:14:58

know themes are so important because the

00:15:00

composer's way of capturing musical

00:15:02

ideas into small fragments that can then

00:15:04

be expanded upon right so it's so

00:15:07

important always whenever you're writing

00:15:08

a score a lot of the time is to start

00:15:10

from the small idea so that you can then

00:15:12

you know build a tree up from that small

00:15:15

little seed so so if narni and there's

00:15:18

so many of these musical seeds that

00:15:21

blossom so incredibly beautifully and

00:15:24

you know it's a perfect example of why

00:15:27

for me this is my favorite score of all

00:15:29

time is because there's so many musical

00:15:32

ideas but each of them are so incredibly

00:15:35

well executed and for me you know every

00:15:39

single theme has its own place within

00:15:41

the the this story a lot of the times

00:15:44

you'll find a lot of composer just sort

00:15:46

of inserting dozens of themes into the

00:15:49

film and then you're like what is this

00:15:51

what is this this is the theme for the

00:15:52

villains mom I don't know how that's

00:15:54

connecting with this you know what I

00:15:55

mean it but with this film you know

00:15:57

there's there's a certain amount of

00:15:58

themes but each of them is he pays a

00:16:01

certain amount of attention to each of

00:16:02

them so it's not too much it's not too

00:16:05

little it's the perfect amount of

00:16:07

harmonic or a thematic content and for

00:16:09

me that's why it works so incredibly

00:16:10

well

00:16:13

[Music]

00:16:18

so let's talk a little bit about some of

00:16:20

the composition techniques used

00:16:22

throughout the score so one of the main

00:16:23

ones is spent rands now a lot of you

00:16:25

might be familiar with suspensions but

00:16:27

they're an amazingly powerful tool to

00:16:29

help create a motion and they're used

00:16:31

all throughout the film

00:16:32

[Music]

00:16:44

they have a cassette and really really

00:16:47

great emotional impact

00:16:48

so suspensions are heavily utilized

00:16:50

throughout the whole score if you listen

00:16:51

to it you'll notice second is the use of

00:16:54

choirs now some of you might know this

00:16:56

others perhaps not but Harry was raised

00:16:59

in a very sort of classic vocal school I

00:17:02

forget the name of it st. Paul st.

00:17:04

John's in England and so he learned the

00:17:08

ways of proper voicing and the wafer

00:17:11

which choirs are written and it's a very

00:17:13

particular way as well for which choirs

00:17:14

him through voice to create the most

00:17:16

impact so so he used in this score the

00:17:20

Bach choir which actually are not used

00:17:22

on a lot of film scores really a lot of

00:17:25

Harry scores sure you know a kingdom of

00:17:27

heaven you know the two narnia scores

00:17:30

but other than that they're they're not

00:17:31

heavily featured on film scores which is

00:17:33

quite surprising because they're very

00:17:34

talented so choirs are used all

00:17:38

throughout and very grandiose moments to

00:17:40

help create a very regal quality

00:17:44

[Music]

00:18:09

[Music]

00:18:16

[Music]

00:18:23

right so you know there's so much

00:18:25

possibility in terms of using choirs in

00:18:27

this score because it's a magical world

00:18:30

full of so much and choirs our great

00:18:33

tool for that so next thing is the

00:18:37

ethnic elements so the thing that I love

00:18:39

about the score is that there's ethnic

00:18:40

elements that are blended so incredibly

00:18:42

beautifully into the the score and you

00:18:44

almost don't even notice them so there's

00:18:46

the can tell a tent illa can't delay and

00:18:51

tell tell tell something like that but

00:18:55

it's a stringed instrument it's opposed

00:18:57

think of it almost like a harp but laid

00:19:01

down flat and has I think 30 to 35

00:19:04

strings on it and it has a very

00:19:06

beautiful quality to it and it's used

00:19:08

throughout the score to create shimmery

00:19:09

effects we also have I believe it's a

00:19:12

gamblin actually I don't know for sure

00:19:15

but it's a very bell-like instrument

00:19:17

with a lot of mid-range and that's why I

00:19:19

presume it was the gamelan that's what I

00:19:21

used in these sweet that I recreated cuz

00:19:22

it has the the the effect that I think

00:19:26

the score gave off so I'm not completely

00:19:28

sure when there that is correct because

00:19:29

of course I don't have to score

00:19:31

everything on the behind the score is

00:19:32

from ear Pierre Lee so that's the fun

00:19:35

thing about it is that it's just in here

00:19:36

exercise but it still it helps us

00:19:39

understand a lot about how to achieve

00:19:40

certain effects so the next thing I want

00:19:42

to touch on is the ethnic elements so I

00:19:45

love how a lot of the ethnic elements

00:19:47

are seamlessly sort of blended into the

00:19:49

score one of them is the can tell I

00:19:51

believe that's how you pronounce it but

00:19:53

it's almost like a harp laid down

00:19:54

there's tons of different strings on it

00:19:56

we have a 32 to 35 and it has this very

00:19:58

shimmery qualities to it and it's used

00:20:03

all throughout the score blended in you

00:20:06

know with the harp and with this elastic

00:20:08

create a very very essential Murray

00:20:10

texture next we have this I think I

00:20:14

think it's a gamelan actually but if not

00:20:16

it's this other type of Bell instrument

00:20:18

and it's used all throughout you know

00:20:21

it's used in evacuating London it's used

00:20:23

in that final cue that we had a lot that

00:20:25

we're

00:20:26

analyze today and so it's used all

00:20:28

throughout but I'm not completely sure

00:20:30

whether it's a gamelan of course I don't

00:20:32

have the score he's the only one with

00:20:33

that but for me sonically a lot of

00:20:37

mid-range a lot of again it has that

00:20:39

Bell like Tambor so I would presume it's

00:20:42

a gamblin next thing is the variety of

00:20:44

influences so you have some more modern

00:20:46

slash hybrid influences you know with

00:20:49

some of the cuts per cushon that you

00:20:51

hear and cues like evacuating London at

00:20:54

the end there it's almost like it's like

00:20:57

like a drum machine or something like

00:20:59

that is really really cool

00:21:14

and then you have middle-eastern of

00:21:19

course with the with the lullaby theme

00:21:22

and then you have the African tribal you

00:21:25

know with cues like the stone table you

00:21:28

know a lot of that cool cool percussion

00:21:30

and then of course you have your classic

00:21:32

orchestral influences as well so the

00:21:35

next thing that we have is the vocalist

00:21:37

Elizabeth Scott so this is used

00:21:39

throughout the score to create very

00:21:40

ethereal effects

00:21:43

[Music]

00:21:58

so you can see all these different

00:22:00

elements sort of coming together to

00:22:02

create the score and like I said there's

00:22:05

so many influences and so many aspects

00:22:07

that go into making it really what it is

00:22:09

and those are just some of them but

00:22:12

that's just a little bit into the

00:22:14

composition techniques used and the

00:22:16

score

00:22:17

[Music]

00:22:28

all right so let's begin to analyze this

00:22:31

piece so the reason why I chose this

00:22:32

piece in specific is because it's the

00:22:33

last piece of the movie and for me it's

00:22:36

not only the finale of the film but it's

00:22:38

also the finale of the score so we bring

00:22:39

back a lot of sort of the main themes

00:22:41

that we have come to know in the film

00:22:44

like Lucie and Thomas's theme we have

00:22:46

the Narnia theme we of course have the

00:22:48

Wardrobe theme over here

00:22:49

and so it definitely gives us a good

00:22:51

outline for the overall sound and tone

00:22:53

of the soundtrack so we're just gonna

00:22:55

break down each individual section so

00:22:57

let's start all the way at the beginning

00:22:59

here and you can see we start out with

00:23:01

this pennywhistle which is a ethnic

00:23:03

woodwind instrument and then we have our

00:23:11

harp above that which is just sort of

00:23:13

really adding a little bit of movement

00:23:19

[Music]

00:23:26

and then we have a long string sustain

00:23:29

above that which is playing a fifth and

00:23:37

then when we when we introduce these

00:23:39

other strings on bar five these are

00:23:41

actually just taking a minor third

00:23:43

inversion or a minor third interval and

00:23:45

just moving them

00:23:52

and he uses that quite a bit there's

00:23:55

another example that we're gonna get to

00:23:57

in a bit but he uses that technique

00:24:00

quite a bit within the soundtrack as

00:24:02

well so

00:24:03

[Music]

00:24:16

so now with bar 8 through 14 let's talk

00:24:20

over that so we introduce you can see

00:24:21

our horn melody

00:24:33

which is pretty much just played on one

00:24:36

of the the horns - solo horn and then

00:24:39

below that we have our string sustain

00:24:42

supplying the harmonic content

00:24:47

[Music]

00:24:48

and just to fill in the the harmony we

00:24:51

just have included a bass as well

00:24:52

[Music]

00:25:01

and then below that we have the piano

00:25:03

which is sort of playing this this

00:25:08

arpeggio or that's not an arpeggio but

00:25:10

an ostinato and then we also have two

00:25:24

harp which is really outlining the

00:25:25

harmony which in this case is D minor a

00:25:27

minor B flat then we have a minor first

00:25:37

inversion so that's all that we have

00:25:41

going on during bars 8 through 14 let's

00:25:43

play that all together

00:25:44

[Music]

00:25:53

so now going on to 14 through I believe

00:25:57

it's when the melody comes in it's bar

00:26:00

23 actually it would be bars 22 so let's

00:26:12

go over that so what's interesting here

00:26:14

is he's using an interesting sort of

00:26:17

rhythmic device using these Bell like

00:26:21

instruments called gamilons and I

00:26:23

believe that's what he was using but if

00:26:25

not it's just a interesting Bell like

00:26:26

instrument

00:26:27

[Music]

00:26:36

and you can see that he's playing the

00:26:38

melody in the piano and the piano melody

00:26:40

is being doubled by the harp one octave

00:26:42

above and that harp melody which is one

00:26:49

octave above the piano is being doubled

00:26:50

by these Celeste

00:26:52

I mean Harry's definitely someone who's

00:26:59

known to use sonically interesting you

00:27:01

know instruments or textures to create

00:27:04

sort of rhythmic patterns and I think

00:27:06

that this bell-like texture with the

00:27:07

harp and then the piano playing the

00:27:09

melody and then the doubling and the

00:27:10

harp and the and the celeste really

00:27:15

creates a nice texture over the more

00:27:17

conventional orchestra

00:27:24

[Music]

00:27:29

so in addition we also have this cello

00:27:32

sort of countermelody being played

00:27:37

that's the solo cello and that's being

00:27:39

doubled by the ensemble show

00:27:48

and again similarly to what we were

00:27:51

doing over here with the with the high

00:27:53

strings our choir is playing these

00:28:00

moving minor third interval

00:28:04

[Music]

00:28:10

[Music]

00:28:14

so now bars 22 through 37 yeah 35 so

00:28:21

this is when it finally brings in the

00:28:23

melody and the high strings and we sort

00:28:25

of get to a much larger orchestration

00:28:27

environment so let's just first of all

00:28:29

start out just by listening to this one

00:28:31

specific

00:28:32

[Music]

00:28:50

so let's start out with our string so

00:28:52

you can see our melodies being played in

00:28:54

the high violins

00:29:08

then we have violins doubling those high

00:29:11

woodwinds that we're gonna take a look

00:29:12

at in a second and then again our

00:29:14

strings are providing our harmonic

00:29:18

content

00:29:20

[Music]

00:29:34

[Music]

00:29:36

and then our cellos were sort of

00:29:38

doubling this this horn line which is

00:29:40

playing sort of a counter melody to the

00:29:43

to the main melody so let's check out

00:29:48

the the choirs here

00:29:53

[Music]

00:30:01

so for the most part we're sticking to

00:30:03

SAT be but you can see in the woman's

00:30:05

choir we're sort of adding a little bit

00:30:07

of de VC here just so we have you know

00:30:09

we can create a more larger richer

00:30:12

harmony and then we have the men's choir

00:30:14

usually sticking in this case just two

00:30:15

voices and really supplying the the low

00:30:18

end part of the of the choir

00:30:22

[Music]

00:30:29

and then the metropolis arc - woman's

00:30:33

choir which is very soft choir compared

00:30:35

to lacrimosa which is a lot more you

00:30:37

know large and sort of larger than life

00:30:40

you know

00:30:42

I doubled the lacrimosa with the

00:30:46

metropolis arc just to make it a little

00:30:47

bit larger

00:30:48

[Music]

00:30:55

so then let's go over to our brass so

00:31:00

you can see during this section right

00:31:02

here our second horn it just has this

00:31:04

pedal note [Music]

00:31:11

[Music]

00:31:20

Katrice that second third voice and all

00:31:25

the horns come together here and our

00:31:27

first one of course took the melody

00:31:29

doubling the the high strings and this

00:31:37

is what that that cello down here is

00:31:39

actually doubling so you can see right

00:31:43

here

00:31:44

[Music]

00:31:48

and then let's go up to our woodwinds so

00:31:52

you can see our flute is doubling the

00:31:53

oboe playing this line

00:31:55

[Music]

00:32:01

oh here's them both together

00:32:08

then every soon is just supplying a

00:32:11

little bit of the low end of the wind

00:32:12

section so you can see like when you

00:32:13

when you combine the flute and the oboe

00:32:16

you get an interesting Tambor you know

00:32:17

the flute on its own is very sweet and

00:32:19

innocent but then the oboe on its own is

00:32:21

very sophisticated and when you combine

00:32:23

them both together it sort of creates a

00:32:25

really really nice

00:32:26

tambour so there here is that whole

00:32:29

entire section together

00:32:31

[Music]

00:32:55

and so the harmony for the section just

00:32:57

to go over it really really quickly so

00:32:59

we're on D minor

00:33:02

a minor F major C and then we have E

00:33:07

flat major

00:33:09

do you miner first inversion

00:33:12

sees us for and then see so that's all

00:33:16

that we have going on in the Harmony so

00:33:17

all right so now we're on to bars 33

00:33:20

through 41 so during this section if you

00:33:28

guys have ever seen any live

00:33:29

performances of The Chronicles of Narnia

00:33:31

you know whether it's the one they had

00:33:33

in Vienna or the one that Harry gave a

00:33:35

few years back you find that a lot of

00:33:37

the times a lot of the live performance

00:33:39

mistakes come in bars 33 through through

00:33:43

40 because you know the the way that the

00:33:46

the flutes are sort of tied together and

00:33:48

work in parallel with the with the piano

00:33:53

is very complex in terms of timing

00:33:55

[Music]

00:34:08

sings to y'all we're doing this we just

00:34:10

have two flutes and the piano but still

00:34:19

a lot of the times in the live

00:34:20

performances you find that this is when

00:34:22

it gets really confusing for some of the

00:34:23

players but then we get into bars 41

00:34:27

which is in the movie pretty much when

00:34:29

you know you're the camera rises up and

00:34:32

it's sort of like moving towards the

00:34:35

castle and so this is huge fly over shot

00:34:37

and so it's a pretty literally a sort of

00:34:39

grant moment so I'm just gonna play that

00:34:41

[Music]

00:35:09

so let's cover what's going on here so

00:35:15

let's start with bar 40 so you can see

00:35:17

our strings come in and we have this

00:35:20

phrase being played so we have these

00:35:27

short notes and then these slurs and

00:35:31

those are being doubled by some more

00:35:34

sort of close and upfront strings and

00:35:44

then our harmony comes in so our mallets

00:35:50

and our keyboards in our harp are again

00:35:54

playing that texture from the beginning

00:35:58

[Music]

00:36:05

and again our piano is sort of you know

00:36:09

doing a little bit of ostinato at the

00:36:16

guys like the main motor and so all that

00:36:20

together the strings the bells the the

00:36:25

piano and the the harp all that's

00:36:27

exciting and now we bring in our horns

00:36:38

[Music]

00:36:42

it's even have these low chords with VI

00:36:46

with the tuba the trombone and the one

00:36:49

of the horns and we bring in all of our

00:36:53

brass voices

00:36:55

[Music]

00:37:04

so you could see that you know we

00:37:07

started out with the lower end of the

00:37:08

brass and then when we sort of get to

00:37:10

this really triumphant heavy part we

00:37:11

bring in the rest of the the brass to

00:37:14

sort of help to intensify the the

00:37:17

harmonic content so then in terms of the

00:37:21

the woodwinds mr. solo those out

00:37:29

flutes are doubling the strings once we

00:37:33

modulate to the b-flat minor

00:37:50

and our would ones who destroyed

00:37:52

supplying a little bit of sort of

00:37:54

sweetness to the texture

00:38:01

[Music]

00:38:09

so now let's take a look at at the

00:38:13

strings for this next section

00:38:15

[Music]

00:38:23

[Music]

00:38:34

[Applause]

00:38:39

so you can see we have this Lydian thing

00:38:42

going on in the strings

00:38:46

[Music]

00:38:56

and in terms of harmony for the section

00:38:59

pretty much we are you know starting G

00:39:02

minor

00:39:05

[Music]

00:39:13

then b-flat minor

00:39:15

[Music]

00:39:21

and then now we play this section the QP

00:39:29

flower

00:39:32

I really like how he puts the the third

00:39:37

of the B flat minor chord in the the

00:39:39

bass [Music]

00:39:51

[Music]

00:39:57

so if we just listen to our harps now

00:39:59

are not our harps required

00:40:13

so you can see our women's choir really

00:40:15

in charge of providing the power and

00:40:28

then we have the the men's choir sort of

00:40:29

supporting

00:40:41

then all the choirs together sounds like

00:40:43

this

00:40:54

and then we also have a sub base just

00:40:57

sort of highlighting the low end and

00:40:59

just really adding something that the

00:41:00

Contra bases really can't you can see

00:41:04

it's very soft and you could barely even

00:41:06

hear it of course uh you know under

00:41:09

everything else but you can definitely

00:41:11

feel it so now going into

00:41:15

[Music]

00:41:19

[Applause]

00:41:30

so you can see we end up here in B major

00:41:33

with this Lydian

00:41:45

and we have this again this harp Bell

00:41:49

like texture and you can see just taking

00:41:54

away that it takes away so much life

00:41:58

[Music]

00:42:06

and then you add it in

00:42:09

[Music]

00:42:13

[Applause]

00:42:14

[Music]

00:42:44

let's cover bar 73 through 82 so you can

00:42:49

see we come in with this string line

00:42:53

[Music]

00:42:56

which is really just highlighting you

00:42:59

know the chord changes and in this

00:43:01

specific section we are d flat major B

00:43:06

flat major

00:43:08

[Music]

00:43:11

G flat major B flat major so all that

00:43:16

we're doing is we're taking you know

00:43:17

every single chord starting on the tonic

00:43:23

going down a half step going up a fifth

00:43:26

[Music]

00:43:41

so that's all that the strings are doing

00:43:43

so in terms of the woodwinds so we start

00:43:46

out with our sort of lower woodwinds you

00:43:48

know you have our clarinet and our

00:43:50

bassoons and that really creates a nice

00:43:52

warm woodwind texture

00:43:57

they were help me introduce our flutes

00:44:00

for the melody

00:44:09

so we don't have anything going on in

00:44:11

our brass we have a little bit of

00:44:14

percussionist accenting so some timpani

00:44:17

hits doubled with a bass drum just to

00:44:22

add a little bit of low-end

00:44:27

and then in terms of strings you can see

00:44:33

we have our again our

00:44:34

[Music]

00:44:43

our main string supplying the Harmony

00:44:46

well we have our string legatos

00:44:55

violas are playing the melody

00:44:57

[Music]

00:45:03

and then other than that we really don't

00:45:07

have too much going on so here's that

00:45:10

altogether

00:45:11

[Music]

00:45:33

so now this is really pretty section so

00:45:36

we go we have these four

00:45:42

[Music]

00:45:48

and another sis for so it's really

00:45:51

really pretty

00:45:52

harmonically and we have those big

00:45:53

suspensions at the ends so this is

00:45:56

really a section that is another big 2d

00:46:01

section

00:46:03

[Music]

00:46:17

so you can see our strings again spread

00:46:22

out pretty high let it comment with the

00:46:28

lower

00:46:29

[Music]

00:46:35

and then the melody we have in the high

00:46:37

violins and then we have the bass

00:46:39

playing well the base at Suchet and then

00:46:43

we have just the violins are the veal

00:46:46

was filling it a little bit more

00:47:01

then our violent twos come in just to

00:47:03

double the melody and make it a little

00:47:05

bit stronger so then our choirs at this

00:47:09

point are just the woman's choir and you

00:47:20

can see those second inversions up there

00:47:22

in the choir are very very powerful

00:47:24

because you get that super

00:47:31

you know doubling with the strings and

00:47:32

it sounds really really powerful

00:47:34

[Music]

00:47:43

so our woodwinds and our brass are

00:47:46

pretty much for the most part playing

00:47:47

all together so you can see you know

00:47:49

flew one the students come in then we

00:47:56

bring in second flute third flew

00:48:02

[Applause]

00:48:03

so you can see like our English horn for

00:48:05

example is you know playing the melody

00:48:08

we have the bassoons sort of playing the

00:48:11

the bass and and then we have the second

00:48:15

bassoon playing the just sort of filling

00:48:17

in a little bit more of that mid-range

00:48:19

and then we have the the first flute

00:48:22

playing the melody then we have the

00:48:23

second and third flute harmonizing it

00:48:25

and then we have the oboe again playing

00:48:30

what the first person is playing but

00:48:31

like an octave higher so all that

00:48:33

together

00:48:34

[Music]

00:48:38

[Applause]

00:48:41

and then for our brass

00:48:49

you can see our brass sounds pretty

00:48:51

empty all the voices aren't really

00:48:52

filled in just have that first horn

00:48:55

major second suspension right there at

00:48:57

bar 83 and then we bring everything else

00:49:05

so you see we have a low end and the

00:49:07

tubas we have the French horn being

00:49:09

doubled by the trumpet one octave above

00:49:10

and then we have the horn I believe it's

00:49:14

two and three helping to fill in the

00:49:17

harmony

00:49:23

and you can see these you know the low

00:49:25

percussion goes a pretty long way to

00:49:27

help just accent these moments

00:49:34

[Music]

00:49:36

and then under that dynamically speaking

00:49:39

very very low we have the harp to

00:49:45

sitting down there adding a little bit

00:49:48

of movement so now let's go on to the

00:49:51

next section

00:50:12

Syrena cover bars 90 through 99 so we

00:50:16

have some string Tremeloes you're sort

00:50:19

of sitting there

00:50:27

see they're very quiet

00:50:30

but add a sense of mystery and

00:50:32

texturally they're really really nice

00:50:34

under the melody which is being played

00:50:38

in the high strings and we also have a

00:50:46

little bit of that wardrobe theme also

00:50:52

in the piano so you can see this little

00:50:59

section is all about sort of like sort

00:51:02

of like the mystery

00:51:17

and just little details like this in the

00:51:20

writing harry's writing you know just

00:51:22

very subtle you know harp phrases these

00:51:27

little tiny little runs heading into

00:51:29

each bar

00:51:31

you know they add something

00:51:43

so harmonically sorry see where we are

00:51:49

so f minor B flat major so we're going

00:51:56

to that major for

00:51:57

[Music]

00:52:01

that D flat major

00:52:16

and you can see when we get some bars 94

00:52:19

or 93.5 you can see our melody now is

00:52:23

tossed over to the low strings so this

00:52:30

is a pretty cool little technique it's

00:52:31

just you know when you play the melody

00:52:33

for the first time have it in one

00:52:35

register then when you sort of repeat it

00:52:38

in this case with a little variation

00:52:43

you could toss it to the other ends of

00:52:47

you know so going from high to low or

00:52:50

low to high something like that

00:52:52

that's a little bit of variation makes

00:52:53

it a little bit more interesting

00:53:01

so now we are heading into the crowning

00:53:04

which is an amazing amazing moment and

00:53:06

this is sort of like the climax of the

00:53:08

film because this is when the main

00:53:09

characters of course you have you know

00:53:11

Susan Lucy Edmonds and then Peter this

00:53:14

is when they're all being crowned at the

00:53:15

end of the movie and it's sort of the

00:53:16

grant moment that everything's been

00:53:18

building up to so it's a very important

00:53:20

moment musically so he chooses to really

00:53:22

bring in the main Narnia theme and he

00:53:24

starts out you know very sort of soft

00:53:27

and very beautiful and dynamically

00:53:30

speaking very sort of timid with this

00:53:33

you know male choir singing the melody

00:53:35

and he builds up he adds the female

00:53:37

choir they no notice he brings it all

00:53:39

together with this gigantic orchestra

00:53:41

and choir to tea on bar 113 so it's a

00:53:45

moment full of a lot of intensity you

00:53:48

know but it starts out very nimble and

00:53:50

builds its way up in terms of

00:53:52

orchestration but also dynamically

00:53:54

[Music]

00:54:37

[Music]

00:54:52

[Music]

00:54:55

so let's take this section by section so

00:54:59

let's start out first of all with our

00:55:00

strings so you can see our strings are

00:55:09

you know sort of more towards the low

00:55:11

ends really supplying again the the

00:55:15

harmony and then we have the the violas

00:55:19

playing the melody which is doubling the

00:55:21

choir

00:55:23

[Music]

00:55:31

[Music]

00:55:33

bringing violent wine

00:55:37

makes the Harmony a little bit more

00:55:39

richer

00:55:41

now we bring in arts the violins

00:55:42

[Music]

00:55:53

and then everything comes in all

00:55:55

together

00:56:13

so that's what we have going on in our

00:56:15

string as you can see again it's just

00:56:16

sort of building in terms of

00:56:18

orchestration starts out you know fairly

00:56:21

small with just the melody and the

00:56:22

violas and then the strings playing

00:56:24

playing down there just sort of

00:56:26

highlighting the the harmony that the

00:56:29

choir sort of goes over and then comes

00:56:32

in introducing more and more voices

00:56:36

introducing you know first the violin

00:56:37

and the second violin and then it of

00:56:39

course brings in all the voices together

00:56:41

you know with a lot of intensity and

00:56:43

that's what we have going on in our

00:56:45

strings so now in terms of the choir

00:56:47

it's doing a very similar thing you know

00:56:49

it starts out with this monophonic male

00:56:51

choir singing the belly brings in the

00:57:01

women's choir

00:57:02

[Music]

00:57:10

Jochen swear

00:57:12

[Music]

00:57:32

so you can see one of our male choir is

00:57:35

actually just sort of playing the bass

00:57:37

notes and really focusing on that and

00:57:40

then the other one is you know playing

00:57:46

then our woman's choir are again really

00:57:48

the powerhouse

00:57:56

[Music]

00:57:58

I'm putting that suspensions super-high

00:58:01

up there so it really sticks out of the

00:58:02

orchestra

00:58:03

[Music]

00:58:12

so that's what's going on the choir as

00:58:13

you can see we're you know building

00:58:15

voice by voice by voice and then we have

00:58:17

everything come together that sort of

00:58:19

grand moment right here I believe on bar

00:58:22

113 so that is the choir have the

00:58:26

strings and then now let's look at the

00:58:29

keyboard so again the keyboard they're

00:58:32

doing this ostinato code by the harp

00:58:34

[Music]

00:58:36

Celeste is doubling that Glock

00:58:40

introduced playing the the melody that

00:58:42

the at the voices playing

00:58:46

[Music]

00:59:01

you can see if you get rid of you know

00:59:04

that as well as the you know the harp

00:59:06

and then the the keyboard it all becomes

00:59:08

a little less you know it has a little

00:59:10

less momentum lot less movement so

00:59:15

adding that all in there

00:59:20

[Music]

00:59:46

so you can see the bassoonist the only

00:59:50

thing that's playing here but on bar 107

01:00:01

we have the high flute playing the

01:00:03

melody we have you know the third flute

01:00:05

playing the counter melody which was

01:00:08

also being played in the strings as well

01:00:10

and then we also have the bassoons again

01:00:13

supplying the bass and then the English

01:00:15

horn

01:00:23

that's covering the mid-range and then

01:00:27

when we bring in the main melody of

01:00:29

course that is being brought

01:00:31

[Music]

01:00:42

so actually the main melody isn't even

01:00:44

being played in the woodwind section at

01:00:46

all the woodwinds are really just acting

01:00:48

as a harmonic bed under the melody which

01:00:50

is being played then in the brass and in

01:00:53

the strings and yeah so the woodwinds

01:00:56

aren't even playing the melody

01:00:57

whatsoever but they are playing the

01:00:58

counter melody over here let's take a

01:01:01

look at what that counter melody

01:01:02

actually is so you know we start let's

01:01:08

go all the way up back here

01:01:09

[Music]

01:01:23

B major

01:01:25

[Music]

01:01:35

right so so the the countermelody is

01:01:39

[Music]

01:01:47

so it's this

01:01:51

it just adds a little bit of

01:02:01

[Music]

01:02:20

so now for the breasts so you could see

01:02:26

let's go all the way back here

01:02:30

[Music]

01:02:38

the horns are adding sort of some warmth

01:02:40

to the strings and then we get to thee

01:02:49

you can see our horns are playing that

01:02:52

counter melody

01:02:53

[Music]

01:03:22

and the melody isn't being played at all

01:03:24

in the brass either it's actually just

01:03:26

the high strings so then of course we

01:03:29

have these big accent

01:03:31

big Tiffany roll then we have this big

01:03:40

cymbal roll as well

01:03:42

[Music]

01:03:52

mr. Tiffany and bass drum hits

01:03:54

I'm just for accent and that is you know

01:03:59

in addition we also have the sub bass

01:04:00

once again

01:04:05

so that is really all that we have going

01:04:07

on within the the larger sort of texture

01:04:10

so let me play that all together once

01:04:12

again [Music]

01:04:54

[Music]

01:05:09

[Music]

01:05:14

all right so now we are on to first 124

01:05:31

oops of 136 for Lucy until menaces theme

01:05:34

so this section is pretty small in terms

01:05:38

of orchestration we just have this very

01:05:39

simple you know violin

01:05:47

and then we have some other high strings

01:05:49

playing the melody

01:05:51

[Music]

01:06:01

a little bit of punk grant

01:06:03

[Music]

01:06:06

and then we have this horn melody which

01:06:10

is pretty much a sort of a variation of

01:06:12

Lucie and Thomas's theme

01:06:15

[Music]

01:06:28

and then under that is just a string

01:06:31

pedal note

01:06:37

[Music]

01:06:45

let's just sort of hanging there until

01:06:48

we enter this next little section so you

01:06:56

can see we have you know the piano being

01:07:00

doubled by the harp being doubled by the

01:07:03

dulcimer then being doubled by they can

01:07:10

tell a which adds it just a little bit

01:07:12

of that shimmer then the dulcimer begins

01:07:18

to play two times as fast

01:07:21

[Music]

01:07:25

and that's what's under this entire

01:07:27

section and we are using an electric

01:07:30

cello I believe it's an electric violin

01:07:31

from the actual film Harry somebody

01:07:33

that's really really good with using

01:07:34

electric stringed instruments you use it

01:07:36

all the time on Veronica Guerin if

01:07:38

you've heard that score there's just one

01:07:40

cue called driving and it's like done

01:07:42

and it's like this Celtic II Irish type

01:07:45

thing and so he uses a lot of electric

01:07:47

you know stringed instruments and so I

01:07:51

believe that's what this is

01:07:56

that's the closest thing that I could

01:07:57

find so what I heard on the soundtrack

01:07:59

that I personally had in my sample Bank

01:08:03

and I think it sounds pretty close

01:08:05

[Music]

01:08:21

a minor B flat major

01:08:25

[Music]

01:08:30

could see for a short little while here

01:08:32

we brought back in the gamblin and those

01:08:43

strings come in

01:08:48

[Music]

01:08:59

and all the strings are of course being

01:09:01

layered by that that sub-base

01:09:05

[Music]

01:09:23

so this next section is of course the

01:09:25

ending of the movie and this is when it

01:09:27

sort of jumps ahead something like ten

01:09:28

years later and it shows them you know

01:09:31

as sort of adults and they find the

01:09:33

lamppost again and this is sort of like

01:09:35

the final time that it brings back the

01:09:36

Narnia theme so it's a really important

01:09:38

part of the of the score and of the film

01:09:41

as well so when we first bring it in we

01:09:43

have this really really nice sort of

01:09:45

jumpy string line which for me like it

01:09:49

actually reminds me a bit of like what's

01:09:50

happening on-screen which is like sort

01:09:51

of the galloping of the horses and stuff

01:09:53

like that that's a very jumpy feel to it

01:09:55

and that is also you know oops

01:09:59

the ostinato strings they sort of create

01:10:05

that galloping rhythmic you know quality

01:10:07

as well and then in addition to that you

01:10:12

know our horns or brass we have you know

01:10:22

the horn solo being playing the melody

01:10:25

and then we have some more brass really

01:10:29

filling in

01:10:36

and then I layered the horn cell with

01:10:38

another horn just to make a little bit

01:10:39

more intense

01:10:40

[Music]

01:10:55

krumitz there's that countermelody again

01:11:01

by the way

01:11:11

so let's talk a little bit about this

01:11:13

modulation that happens so we jump up a

01:11:18

half-step [Music]

01:11:20

see

01:11:24

so that's a pretty neat modulation

01:11:26

actually so we're pretty much you know

01:11:28

we have this oops we have this seesaw

01:11:31

form and then the bases go

01:11:34

[Applause]

01:11:38

[Music]

01:11:40

yeah so it's a really really cool

01:11:43

modulation because if you just jump a

01:11:44

half step and it's really really

01:11:46

powerful action

01:11:47

[Music]

01:11:54

and it actually you know it gives a

01:11:55

little bit of

01:11:57

it sort of leans you into that

01:11:59

modulation if we were to just go from C

01:12:03

[Music]

01:12:05

you know it has a you know definitely a

01:12:07

rising power to it

01:12:09

[Music]

01:12:16

[Applause] [Music]

01:12:39

so you can see during this section we

01:12:42

have the let me just solo this one out

01:12:48

violin - playing the melody and the

01:12:54

lower strings

01:12:56

[Music]

01:13:05

oops some happens you know but we have

01:13:12

the violin too is playing the melody and

01:13:14

then we have the the low strings of

01:13:16

course just really providing a little

01:13:18

bits of support to the brass

01:13:29

and our woodwinds are you know playing

01:13:32

you know somebody very similar to what

01:13:33

our brass are playing lower flutes

01:13:36

playing the melody

01:13:39

English horn is doubling the horns the

01:13:44

horn one

01:13:57

so you can see the contrary motion going

01:13:59

on here by the way so like the flute

01:14:01

goes up clarinet goes down the clarinet

01:14:04

goes down you know the bassoon goes up

01:14:08

so his writing is very like in terms of

01:14:10

voicing it's very sophisticated in terms

01:14:12

of the way that the voices are moving

01:14:14

and the different inversions that are

01:14:16

being used and the way that he gets from

01:14:17

one chord to the other using using

01:14:20

different voicings it's very very very

01:14:22

smooth

01:14:36

and then of course going into that you

01:14:38

know bar 155

01:14:42

the violins are taking care of the main

01:14:45

melody

01:14:46

there's no choir here keyboards so

01:14:49

that's all the tapping

01:14:50

[Music]

01:14:58

have this clarinet melody cuz this B

01:15:03

minor

01:15:04

[Music]

01:15:10

resolution and then I inserted this last

01:15:13

cord because of course the piece ends

01:15:14

you know once they get in the wardrobe

01:15:16

and then there's a song that begins to

01:15:17

play for the ending credits so it sort

01:15:19

of ends very awkwardly so I just

01:15:21

inserted this final crescendo just as a

01:15:23

sort of grand closing statement so let's

01:15:39

talk a little bit about some of the

01:15:40

technical aspects and I thought it'd be

01:15:41

interesting just to take you through my

01:15:42

overall approach to how I actually do

01:15:45

these behind the scores so the first

01:15:47

thing that I do is I listen to the

01:15:48

soundtrack like two times like straight

01:15:50

through just so I have a overall idea of

01:15:52

you know in this case it was the themes

01:15:54

and it was the way that everything

01:15:55

connected with this final piece and the

01:15:57

way that everything is sort of connects

01:15:58

together in terms of the the harmonic

01:16:02

language and and his overall stylistic

01:16:04

approach to the film and then after I

01:16:06

sort of had that overall sort of

01:16:07

bird's-eye view

01:16:08

I'm able to go in and make my initial

01:16:10

sketch which in this case was on a a

01:16:12

simple piano and so I just you know I

01:16:16

sketched out the whole entire thing on a

01:16:18

piano all the way through bars you know

01:16:20

one one seventy something so I had six

01:16:23

minutes of sketches from you know and

01:16:26

then from that point I begin to build

01:16:27

the orchestra section by section now go

01:16:30

in and for each one of these sections

01:16:33

you know like you know the section then

01:16:35

the B section chronic section I'll

01:16:38

actually go in and I'll do just the

01:16:40

woodwinds and then I'll do the brass and

01:16:41

then I'll do the percussion and then

01:16:42

I'll do the strings then I'll do the

01:16:44

choirs and then I begin to blend

01:16:46

everything together I like to really

01:16:47

really get into the details in terms of

01:16:49

each specific instruments voicing and I

01:16:52

can't do that when everything is playing

01:16:53

together so that's why I like to go in

01:16:55

and get each section down really really

01:16:58

well almost like it would do like on a

01:17:00

full score piece of paper you'd go in

01:17:01

and you'd make all your editorial

01:17:02

changes in each section until everything

01:17:04

is sort of lined up and then you mix and

01:17:06

then I'll mix everything sort of

01:17:08

together so that it sounds you know has

01:17:12

a sense of unity to it so let's talk a

01:17:15

little bit about the samples that I use

01:17:16

so I'm a big fan of of Berlin woodwinds

01:17:19

in terms of woodwinds I think they sound

01:17:21

super beautiful very or cast

01:17:23

great scripting great legato and awesome

01:17:26

sound you know if I just play this

01:17:32

[Music]

01:17:44

so it has a really really nice sound to

01:17:46

it and then for the for the brass I

01:17:50

think brass is an interesting category

01:17:52

of sample libraries because there's so

01:17:53

many different sort of styles of brass

01:17:56

and samples there's your you're very

01:17:58

soft orchestral you know brass that is

01:18:02

sounds very regal

01:18:03

there's your John Williams style brass

01:18:05

it's very agile you know like the sorta

01:18:09

like the Caspian 's you know that type

01:18:11

of stuff or the adventure brass and then

01:18:13

you of course have your big hans zimmer

01:18:15

low brass like the symphony series brass

01:18:17

from native instruments and then you

01:18:20

know you have really gritty Hollywood

01:18:22

brass like Cinna brass so there's so

01:18:24

many different styles of brass but in

01:18:25

this specific case in this piece the

01:18:27

very orchestral regal brass from Berlin

01:18:30

brass I've said brass like 50 times the

01:18:35

brass from Berlin brass was a great

01:18:37

brass oh my god you've probably already

01:18:41

turned off the video at this point okay

01:18:43

so so yeah so that's what I ended up

01:18:46

using most of the time here and then I

01:18:49

found this horn solo in brilliant

01:18:50

Orchestra inspire and then I found this

01:18:53

Patrick and brilliant Orchestra inspire

01:18:54

this is just the big brass patch and I

01:18:57

don't know why it's this Muse because

01:18:58

it's it's not me it's it's just the

01:18:59

normal along and then these are the

01:19:02

horns from Symphony series so for the

01:19:05

percussion there isn't too much

01:19:06

percussion in this piece you know for

01:19:08

this piece most of the percussion is

01:19:09

accenting you know in a cue like the

01:19:12

battle there's a lot of rhythmic

01:19:13

percussion you know on the snares and

01:19:15

some sort of electronic drums and stuff

01:19:18

like that but in this piece it's very

01:19:20

very orchestral and the percussion is

01:19:22

used similarly to how water John

01:19:24

Williams percussion is used a lot of the

01:19:26

times for accents and for big sort of

01:19:28

for big moments so that's what that's

01:19:33

what the percussion is and pretty much

01:19:35

I'm only using spitfyre percussion Redux

01:19:37

a little bit of Sinop perk you know and

01:19:42

using that for the bass drum for the

01:19:44

strings strings are a little bit more

01:19:46

difficult because I like I like

01:19:48

different things from different

01:19:49

libraries so you can talk over that so I

01:19:52

like the legato from Berlin

01:19:54

Orchestra inspire because it's from

01:19:55

Berlin strings I'll use that for the the

01:19:58

main violin melody and then I also love

01:20:01

the legato from metropolis Arc 2 because

01:20:03

it has a very upfront and up close sort

01:20:06

of Benjamin walfish Danny Elfman type

01:20:08

sound which works really really well for

01:20:10

small intimate moments if you want

01:20:13

something really upfront and then I also

01:20:15

love the performance the gada Patras

01:20:17

from spitfire chamber strings because

01:20:18

they are incredibly agile you can go

01:20:20

from playing staccato to sort of a

01:20:22

slurred phrase so those are a fantastic

01:20:24

I using mural for all of my sort of

01:20:27

orchestral legato lines most of the time

01:20:30

where I'm doubling with the spitfire

01:20:33

chamber strings concertina ensemble

01:20:36

patch which is where most of my strings

01:20:38

sound really comes from in this piece

01:20:40

and so yeah mural is a great doubling

01:20:44

with that because they're both recorded

01:20:45

in the same hall and then we have you

01:20:49

know mural lungs then we have again that

01:20:52

concertina patch which it's just such a

01:20:53

beautiful patch by the way you know if I

01:20:55

just play

01:20:57

[Music]

01:21:14

and as a super left sound to it and then

01:21:18

flogged Honda which I'd like to use for

01:21:20

the sort of like really high sort of

01:21:21

pedal notes I'm same thing with

01:21:23

harmonics but there wasn't any of that

01:21:24

in this piece we have some tremolo you

01:21:27

know Berlin Orchestra inspire really

01:21:29

upfront sound mural very symphonic more

01:21:32

ambient sound quarter in air studios so

01:21:35

has a little bit more room to it so

01:21:37

those together sound pretty nice sound

01:21:41

like this

01:21:47

Berlin Orchestra inspire on its own

01:21:50

barrel on its own

01:21:55

and I put the the the lower of the two

01:22:00

in mural because it has a little bit

01:22:02

more residence it works really well for

01:22:04

that lower section and the brilliant

01:22:05

Orchestra spire that high section has a

01:22:07

lot more you know again a lot more of an

01:22:13

upfront sound and when you combine those

01:22:14

two it has a pretty pretty wide sound to

01:22:18

it so and then we have the patch from I

01:22:23

think this is what is this oh cinematic

01:22:28

strings - okay so yeah i'm using this

01:22:31

staccato and samel patch from cinematic

01:22:33

strings - the thing i love about it is

01:22:35

that it has this super super agile

01:22:41

ability to be able to do like

01:22:48

like with no hesitation a lot of

01:22:50

libraries when you try to do that

01:22:51

different notes have different lengths a

01:22:53

little bit and it's really hard to get

01:22:54

things to sound right and for this one

01:22:57

it's just so incredibly you know it has

01:23:03

a super super nice sound to it

01:23:05

and I use that for for this section

01:23:09

[Music]

01:23:17

so then we have a little bit of

01:23:21

metropolis arc to spicata oz for that

01:23:25

more upfront sound that we were doubling

01:23:27

with the performance legato from

01:23:29

spitfire chamber strings austin oddest

01:23:35

strings for that more rhythmic choral

01:23:37

stuff electric cello from eight do I

01:23:42

believe this is Tina grow cello and then

01:23:45

for the choirs you know choirs are an

01:23:48

interesting thing because each choir

01:23:50

each quarter library really has its own

01:23:53

identity and you know different singers

01:23:55

different halls different sounds

01:23:57

different different overall styles and

01:23:59

for me the metropolis are two choirs or

01:24:01

that really sort of nice cool Danny

01:24:03

Elfman you know type sounds and the

01:24:07

lacrimosa choirs it's a much more sort

01:24:09

of intense upfront sort of HC sound you

01:24:14

know like something like this

01:24:25

you can get such a great sign with that

01:24:28

library and and yeah and so then we have

01:24:31

that metropolis r2 for the men's choir

01:24:34

ligado for the for the crowning scene

01:24:37

[Music]

01:24:50

so then I use Alicia's keys for most all

01:24:52

my pianist it just has a great tone to

01:24:54

it [Music]

01:25:08

and then gamelan I actually doubled two

01:25:12

different gamilons together to get the

01:25:15

specific sound at doubleday synth game

01:25:16

on because a lot more mid-range and then

01:25:18

the real gamelan which is a lot you know

01:25:20

a lot more gritty and has that higher

01:25:23

range it has a little bit of like a

01:25:26

tonal wobble as well so when you combine

01:25:27

the two you get a cool sound here's a

01:25:31

dress the synthetic one and then the

01:25:35

real one

01:25:36

[Music]

01:25:41

and then I usually use two different

01:25:43

harps the brilliant orchestra and spire

01:25:45

one for my orchestral harp which sounds

01:25:48

like this and then the angelic heart for

01:25:54

my more intimate harp there's a lot more

01:26:00

up front these sub bass from Albion

01:26:03

three I see nee that has a great section

01:26:06

called under bass and this is from the Juno

01:26:08

synth and then we also have some ethnic

01:26:12

elements as well so a plucked grand from

01:26:14

the spitfire labs some dulcimer fit for

01:26:20

our labs

01:26:32

[Music]

01:26:36

then we have the Kinsella again and this

01:26:41

is an interesting one because the guy

01:26:42

that made this he just uploaded it for

01:26:45

free on the internet like seriously it's

01:26:47

this patch and he got this can tell a

01:26:50

which was like a 30 to 35 string

01:26:51

instrument it sounds amazing and he

01:26:53

released this patch for free online and

01:26:56

it sounds so cool it just adds this

01:26:57

shimmery quality

01:26:59

[Music]

01:27:03

and almost doesn't even sound ethnic

01:27:05

really it just blends so well with the

01:27:07

with the harp and the piano and I'm

01:27:09

definitely gonna be using it a lot from

01:27:11

now on I love it and then and then other

01:27:15

than that we just have our pennywhistle

01:27:16

which is from Cinna winds Pro so that is

01:27:19

just a quick overview of all the

01:27:20

technical aspects you know involved the

01:27:23

samples and then really quickly I just

01:27:25

want to show you this so this is all of

01:27:29

my all of my automation and I use mod

01:27:32

wheel for everything when I whenever I

01:27:35

record but I always actually draw in

01:27:37

automation volume as my expression so I

01:27:41

never draw an expression you know via CC

01:27:43

11 but I always draw it in via

01:27:45

automation because I'd love to be able

01:27:47

to just you know show automation and see

01:27:49

all my expression in front of me it

01:27:51

allows me just to go in and make quick

01:27:52

editorial changes so that is just a

01:27:55

quick little overview of of the

01:27:57

technical aspects of recreating this

01:28:00

piece music so thank you so much for

01:28:02

watching this video I personally learned

01:28:04

tons from analyzing the score and a Hep

01:28:05

B you guys did as well

01:28:07

it's such a beautiful score brilliantly

01:28:09

written and I feel like I'm just now

01:28:11

beginning my journey into it to better

01:28:13

understand it but in the future I

01:28:15

definitely do want to touch on Prince

01:28:17

Caspian because there's even more

01:28:18

amazing musical material in that film

01:28:20

and there's more themes and there's more

01:28:22

interesting content and it's definitely

01:28:24

something that deserves its own video so

01:28:27

in the future if you guys are interested

01:28:28

I definitely love to look at Prince

01:28:29

Caspian on it's sort of its own

01:28:31

spotlight but anyways if you guys have

01:28:34

any questions or recommendations please

01:28:36

put those down below this is episode 8

01:28:38

of season 2 so there are going to be two

01:28:42

more episodes after this and then behind

01:28:44

the score will be gone for a few months

01:28:45

but we'll be doing other videos

01:28:46

I'm having to do with harmony and

01:28:48

orchestration film scoring etc but

01:28:50

anyways thank you so much for joining me

01:28:52

as usual and I look forward to the next

01:28:54

one and I will see you guys soon

01:28:55

see ya

Description:

In this episode of Behind the Score, we dive into Harry Gregson-Williams' iconic score for Andrew Adamsons "The Chronicles of Narnia: The Lion, The Witch, and The Wardrobe." » Free Pack (Session, MIDI File, Stems): https://www.dropbox.com/sh/4q8pwreswi73ek5/AAACVyx3bIlC89naNTU0TASQa?dl=0 » Website: ashtongleckman.com » Contact / Private Lessons: [email protected] » Soundcloud: soundcloud.com/ashton-gleckman » Reelcrafter: http://bit.ly/2AFP1nz Check out the Cinematic Music course on Evenant - a fantastic online platform to explore music composition, virtual orchestration, and more! http://bit.ly/2BTiOcf » Season One: https://www.youtube.com/playlist?list=PLeFP26Uv6kO_3stlIjjR_bruwKl4sjCQe » Season Two: https://www.youtube.com/playlist?list=PLeFP26Uv6kO92EvlzF-MoIz9HonNlxfJu

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