c�d�master88
05-23-2013, 05:09 AM
Blood Wings Sinfonia
Symphony No. 4: Murder on the Night Plain
2013
4 tracks, TRT: 46:40, 320 MP3
https://mega.co.nz/#!t08znB5B!BLDPln-Vc5D6Aajz18W__yuZ4PUFNNZv0cvdbKnJr6w
Note: I know I never got around to posting the final mixes of my Incident at Goose Creek Vol. 3 mixes but I assure you those are on their way. This project has just pre-occupied so much of my time that I honestly forgot about Vol. 2. I have 2 new preview tracks for that which I will post to the respective thread at a later time. Keep an eye out.
For those who have been following these from the very beginning, rest assured I'm stepping my game way up this go around. By the end of my preview tracks for Vol. 2, I was beginning to establish a more epic sound to my symphonies. The tradition is most definitely here in this collection, however this story gets a lot more breaks than Goose Creek did, I promise. Unlike what I've done before, I will give you a breakdown of each individual movement and what inspired me to go on and what ultimately may end up being changed in the final mixes.
But first, a little backstory. This piece was devised while on vacation out in the 29 Palms desert near Landers, California and as I was driving back to Palmdale (where I was staying), I began listening to Terry Riley's Cadenza on the Night Plains and the idea for my next symphonic work hit me like a ton of bricks. I began thinking of suites almost immediately after finishing the Cadenza and luckily, I had some prototypes already began before I had left home so I expanded upon those ideas. Unfortunately not all of the music ideas I thought of while there made it into these movements but I'm pleased with what did make it.
Movement 1: this whole piece started with Dana Kaproff's tense music for the big reveal within the first act of the film, When A Stranger Calls. Naturally, I look at it now and for the first 2 or so minutes, it isn't a very particularly enjoyable experience. I'm aware of that and promise it will be changed. Keep going though as it does get better. Next, as I was going through my music library I instantly thought of Lalo Schifrin's rejected score for the Exorcist and actually had a bit of fun with that part. I did some artificial pans from the left to the right because I didn't think the original presentation of having the piece playing in just the right channel fit the soundscape but I really liked the piece so I altered it to the form you will hear. The real moment that I was proud of starts at 3:59 and runs to 4:11 as the instruments bounce quite effectively from left to right before the xylophone takes over the right channel and building strings playing in the left with a cymbal crash sounding in the left channel which ends the stereo experiment. Unfortunately I didn't get to do that much experimentation with the manual stereo panning but in time I'll definitely play with it. The next 2 and a half minutes were meant to play as some sort of main title sequence underscored by 2 excerpts of Lucas Vidal's score to The Raven that is met off and on with the score from Splice (I actually use this later on in the movement but it does not appear in the remaining tracks). Fans will definitely notice the ridiculously obvious Inception reference but it doesn't last for long as the post-credits scenes begin and that's when the score really begins getting scary as excerpts of An American Haunting takes the center stage (2 tracks painstakingly arranged together to play as if they were recorded that way) for about 2 and a half minutes after which we are introduced to a mess of Brian Tyler stingers overlapping together in eerie harmony to form the symphony's first real moment of sudden shock only to be followed up by an unbearably tense mix of Leatherface: The Texas Chainsaw Massacre 3 playing over select pieces from the original Nightmare on Elm Street score which actually caused me to re-listen to those parts multiple times just because I couldn't believe that it came out sounding so good. Thus ends movement 1.
Movement 2 was a pleasant accident. This is the movement where I introduce some slower elements that are not common in my projects: like the track Lachrymose in the Dead Space 2 score which features some really chilling string (particularly cello and violin) work that make up the bulk of this movement. I also played with Elliot Goldenthal's Pet Sematary score for the attack sequence of this cue. I beefed it up a bit and believe me, those screeching violins are far scarier now than they were. You think that's scary, though? You haven't heard the last 45 seconds yet. ;)
Movement 3 was a rather fun movement but it may sound like the most incomplete and choppy due to its design however I think it's the most impressive and also the first big action cue of the whole symphony. This movement will be cleaned up as well but this is the prototype in which I'm basing the final mix on. Upon a recent re-listen of the Dead Space 2 score, I couldn't help but notice almost unavoidable references to Marco Beltrami's The Omen and to my astonishment, what you hear in the first 3 minutes is my theory put to the test. It matches almost perfectly and, no joke, required VERY MINOR tweaking to make the two pieces line up. The piece I initially heard the references in (I forgot the track title) were much stronger than the piece I used for this movement but the used one was NOT a bad example at all, I thought. Rather than me try to (poorly) explain it, I'll let you hear it. For the remainder of the cue, there's some suspense generated using more of Jason Graves' score from Dead Space 2 before the music blasts back into action mode again before you get a real taste of suspense I love: the slow uprising of drums punctuated with tuba blasts while a violin plays somberly away in the background as the tempo increases ultimately leaving the violin behind in favor of the rising drums before the rising drums kick forward into more action music that I amped up even more by inserting bits of Child's Play 2 and more Dead Space 2 into the mix before the action is brought to a chilling halt by a startling cymbal crash followed by a few moments of chilling suspense as the orchestra rises again and ends with another cymbal crash. Cymbal crashes, since I've been a film score fan, have ALWAYS been my favorite instrument but I've never found a proper place to put them in my works but in tune with my epic ambitions, I managed to make it work here.
Movement 4 opens with the confrontation music from Nightmare on Elm Street which seamlessly blends into an excerpt from Halloween 2 (the Rosenthal version, not the Failbie version) before you're treated to your first real taste of real classical orchestra power as the piece transitions into a (non-dissonant) thrilling piece from composer Penderecki and just when we the audience thinks it's over as what would ordinarily be a closing crescendo immediately transforms into another action piece scored by Marco Beltrami's Cursed before *score title name deleted ;)* gets its second introduction as a star player in my works with its most intense presentation yet. I don't want to spoil the surprise, all I can say is you'll love the addition. :) That surprise runs for the next 8 minutes before I incorporate my first ever Zimmer piece (multiple actually, from Hannibal) which gets a whopping nearly 8 minutes to play and wow you. His Hannibal score (at least bits of it) is astounding and a score I'd love to have the sessions for. His classical approaches work while his trademark sound (which luckily only crops up every so often throughout the score) only slightly works. After Zimmer's spotlight, we transition back over to another excerpt of the same Penderecki piece from the beginning which is followed by excerpts of score from Craig Safan's Wolfen rejected score (there are actually multiple cues overlying each other to get the desired effect). We get some more cymbals before the piece wraps up to a rather hopeful ending before...stay to the end of movement 4 to find out.
I know it all seems confusing to read all of this but try being me (who is musically illiterate like you wouldn't believe) and writing this. It's much harder I promise. Haha. Also, these mixes help me to discover new great scores that may otherwise get neglected on my hard drive. Anyway, I hope you enjoy!
Symphony No. 4: Murder on the Night Plain
2013
4 tracks, TRT: 46:40, 320 MP3
https://mega.co.nz/#!t08znB5B!BLDPln-Vc5D6Aajz18W__yuZ4PUFNNZv0cvdbKnJr6w
Note: I know I never got around to posting the final mixes of my Incident at Goose Creek Vol. 3 mixes but I assure you those are on their way. This project has just pre-occupied so much of my time that I honestly forgot about Vol. 2. I have 2 new preview tracks for that which I will post to the respective thread at a later time. Keep an eye out.
For those who have been following these from the very beginning, rest assured I'm stepping my game way up this go around. By the end of my preview tracks for Vol. 2, I was beginning to establish a more epic sound to my symphonies. The tradition is most definitely here in this collection, however this story gets a lot more breaks than Goose Creek did, I promise. Unlike what I've done before, I will give you a breakdown of each individual movement and what inspired me to go on and what ultimately may end up being changed in the final mixes.
But first, a little backstory. This piece was devised while on vacation out in the 29 Palms desert near Landers, California and as I was driving back to Palmdale (where I was staying), I began listening to Terry Riley's Cadenza on the Night Plains and the idea for my next symphonic work hit me like a ton of bricks. I began thinking of suites almost immediately after finishing the Cadenza and luckily, I had some prototypes already began before I had left home so I expanded upon those ideas. Unfortunately not all of the music ideas I thought of while there made it into these movements but I'm pleased with what did make it.
Movement 1: this whole piece started with Dana Kaproff's tense music for the big reveal within the first act of the film, When A Stranger Calls. Naturally, I look at it now and for the first 2 or so minutes, it isn't a very particularly enjoyable experience. I'm aware of that and promise it will be changed. Keep going though as it does get better. Next, as I was going through my music library I instantly thought of Lalo Schifrin's rejected score for the Exorcist and actually had a bit of fun with that part. I did some artificial pans from the left to the right because I didn't think the original presentation of having the piece playing in just the right channel fit the soundscape but I really liked the piece so I altered it to the form you will hear. The real moment that I was proud of starts at 3:59 and runs to 4:11 as the instruments bounce quite effectively from left to right before the xylophone takes over the right channel and building strings playing in the left with a cymbal crash sounding in the left channel which ends the stereo experiment. Unfortunately I didn't get to do that much experimentation with the manual stereo panning but in time I'll definitely play with it. The next 2 and a half minutes were meant to play as some sort of main title sequence underscored by 2 excerpts of Lucas Vidal's score to The Raven that is met off and on with the score from Splice (I actually use this later on in the movement but it does not appear in the remaining tracks). Fans will definitely notice the ridiculously obvious Inception reference but it doesn't last for long as the post-credits scenes begin and that's when the score really begins getting scary as excerpts of An American Haunting takes the center stage (2 tracks painstakingly arranged together to play as if they were recorded that way) for about 2 and a half minutes after which we are introduced to a mess of Brian Tyler stingers overlapping together in eerie harmony to form the symphony's first real moment of sudden shock only to be followed up by an unbearably tense mix of Leatherface: The Texas Chainsaw Massacre 3 playing over select pieces from the original Nightmare on Elm Street score which actually caused me to re-listen to those parts multiple times just because I couldn't believe that it came out sounding so good. Thus ends movement 1.
Movement 2 was a pleasant accident. This is the movement where I introduce some slower elements that are not common in my projects: like the track Lachrymose in the Dead Space 2 score which features some really chilling string (particularly cello and violin) work that make up the bulk of this movement. I also played with Elliot Goldenthal's Pet Sematary score for the attack sequence of this cue. I beefed it up a bit and believe me, those screeching violins are far scarier now than they were. You think that's scary, though? You haven't heard the last 45 seconds yet. ;)
Movement 3 was a rather fun movement but it may sound like the most incomplete and choppy due to its design however I think it's the most impressive and also the first big action cue of the whole symphony. This movement will be cleaned up as well but this is the prototype in which I'm basing the final mix on. Upon a recent re-listen of the Dead Space 2 score, I couldn't help but notice almost unavoidable references to Marco Beltrami's The Omen and to my astonishment, what you hear in the first 3 minutes is my theory put to the test. It matches almost perfectly and, no joke, required VERY MINOR tweaking to make the two pieces line up. The piece I initially heard the references in (I forgot the track title) were much stronger than the piece I used for this movement but the used one was NOT a bad example at all, I thought. Rather than me try to (poorly) explain it, I'll let you hear it. For the remainder of the cue, there's some suspense generated using more of Jason Graves' score from Dead Space 2 before the music blasts back into action mode again before you get a real taste of suspense I love: the slow uprising of drums punctuated with tuba blasts while a violin plays somberly away in the background as the tempo increases ultimately leaving the violin behind in favor of the rising drums before the rising drums kick forward into more action music that I amped up even more by inserting bits of Child's Play 2 and more Dead Space 2 into the mix before the action is brought to a chilling halt by a startling cymbal crash followed by a few moments of chilling suspense as the orchestra rises again and ends with another cymbal crash. Cymbal crashes, since I've been a film score fan, have ALWAYS been my favorite instrument but I've never found a proper place to put them in my works but in tune with my epic ambitions, I managed to make it work here.
Movement 4 opens with the confrontation music from Nightmare on Elm Street which seamlessly blends into an excerpt from Halloween 2 (the Rosenthal version, not the Failbie version) before you're treated to your first real taste of real classical orchestra power as the piece transitions into a (non-dissonant) thrilling piece from composer Penderecki and just when we the audience thinks it's over as what would ordinarily be a closing crescendo immediately transforms into another action piece scored by Marco Beltrami's Cursed before *score title name deleted ;)* gets its second introduction as a star player in my works with its most intense presentation yet. I don't want to spoil the surprise, all I can say is you'll love the addition. :) That surprise runs for the next 8 minutes before I incorporate my first ever Zimmer piece (multiple actually, from Hannibal) which gets a whopping nearly 8 minutes to play and wow you. His Hannibal score (at least bits of it) is astounding and a score I'd love to have the sessions for. His classical approaches work while his trademark sound (which luckily only crops up every so often throughout the score) only slightly works. After Zimmer's spotlight, we transition back over to another excerpt of the same Penderecki piece from the beginning which is followed by excerpts of score from Craig Safan's Wolfen rejected score (there are actually multiple cues overlying each other to get the desired effect). We get some more cymbals before the piece wraps up to a rather hopeful ending before...stay to the end of movement 4 to find out.
I know it all seems confusing to read all of this but try being me (who is musically illiterate like you wouldn't believe) and writing this. It's much harder I promise. Haha. Also, these mixes help me to discover new great scores that may otherwise get neglected on my hard drive. Anyway, I hope you enjoy!