c�d�master88
11-29-2013, 12:40 AM
Blood Wings Sinfonia
Symphony No. 6: Murder on the Night Plains Vol. 3
2013
6 tracks, TRT: 1:09:42, 320 MP3
https://mega.co.nz/#!l1cTkLST!MeJSgDxZZG3zhJ2zV_6GFjoiIgRKhqOKpAANs3_ vqzw
Note: I was really not expecting to have this done before the new year but luck was with me and I acquired some free time right in time for the Thanksgiving holiday season. As the days of fall draw on and winter comes ever forth, this music is meant to represent the intensity in the change of the seasons. I was so overjoyed upon re-listening to Symphony No. 5 and with the new year being too far away, Thanksgiving felt like the perfect time to start another project. This project was a magical one to be involved in. While my trademark action cues are here, they are no longer the frontrunner. For this project, I utilized more of the brass, string and choral sections. I really tried to keep this project to the traditional symphony format of 1 overture, 3 movements and 1 coda however, the originally mixed coda was almost 35 minutes long so a split and the creation of a 4th movement was necessary.
For the overture, our ears are startled by the opening stinger from Daniel Licht's score to Hellraiser: Bloodline as it seamlessly transitions to the opening cue from Drag Me to Hell. There our first choral elements are introduced. Re-introduced is our first reprise of the Exorcist rejected score material that was first introduced in the intro for Murder on the Night Plains Vol. 1. I used the rejected trailer music cue and to tie it off at the end, this is where I was inclined to tap into my more obscure collection. The cue ends with the finale of the main title music featured in Dante Tomaselli's Horror, a film that still to this date does not have a score release. Tomaselli has some amazing sounds in his films.
We transition over to movement 1 which is a nice suite presentation of Misha Segal's Phantom of the Opera score joined by Robert J. Kral's The Haunting in Connecticut with some surprise Beltrami bits thrown in there for good measure. Fans of Beltrami will love this movement. To conclude, we're treated to a nice suite of material from Michael Wandmacher's score to The Last Exorcism Pt. 2 seamlessly blended with music from Dario Argento's Inferno, composed by Keith Emerson. It's a real treat.
Movement 2 is where I have my fun yet again. Unlike my previous symphonies, I really restrain myself on this one. Fans of James Newton Howard will rejoice as I was gracious enough to include a sneak peek of unreleased score from his Dreamcatcher score. Fans of the film will recall the particular scene as the helicopters are making their way to the alien ship in the crater that's hands-down the most epic scene of the movie. I beef it up from the original recordings by introducing more rhythmic drums and bass. There the previously unreleased material ends and the previously available material begins. James Newton Howard's Dreamcatcher is an amazing score. I really enjoyed working with it. It lent great help to this movement. This is also a very percussive piece but not Brian Tyler overbearing. I also got pretty creative and dived even deeper into my obscure collection where I re-discovered esteemed Armenian composer Ashot Zohrabyan's "Hommage � Metsarents" which lends a definite helping hand in amping up that vintage style of horror. It does sound flatter than the rest of the material but that is intended. Once Zohrabyan's material ends, Leigh Harline's score for Pinocchio makes an appearance to conclude the movement.
Movement 3 started out as a happy accident. It all began with a cue from Danny Elfman's Mars Attacks that had some of Sonic Mayhem's score for the video game Prototype laying under it in the track below it that I had forgot to remove from the timeline before I began playback that just instantly compelled me to make it work and keep it in. It all ended up lining up VERY well and ultimately paid off with my next addition: Harold Arlen's absolutely amazing score to the 1939 classic, The Wizard of Oz. Since the source was mono, I faked a stereo image by adding a few milliseconds of silence in the right channel which helped give it some sense of dimensionality. I did swap up the channels off and on in places to keep it from sounding plain and give it that extra sense of dimensionality. The cymbal crash that ends that segment is pretty cool in that due to the faked stereo image, it now has a quick stereo effect to it that just has to be heard to be understood. For the remainder of the movement, you are treated to a lengthy but competent suite of Rogue Banos' score to Fragile - A Love Story. With each new score I uncover from Banos, it's a neverending adventure. Banos truly is the modern master of music and ended up being one of the the main reasons I would sit through the Evil Dead remake more than once. I have never seen the film Fragile but I definitely will now. Banos' music is also easily adaptable to my works as you have heard evidenced in several of my past works. Fragile was no exception from Evil Dead though. The "good" bits of the score were all spread out so a lot of chopping was necessary to balance it all out. There are some absolutely amazing choral pieces from the pen of Banos in this that I have never showcased in my works before. Everything is building up to an amazing finale.
The eccentric Movement 4 kickstarts the beginning of the end with a slow introduction by Polish composer Penderecki's Cello Concerto No. 2. This movement along with the coda bring my first symphony "Blood Wings" strongly to mind. As was the case with Blood Wings, this is another tribute to Penderecki. His music kick started my interest in these projects, it's only natural to keep him around for the finale. Penderecki's music succeeds yet again at evoking the right sense of dread and sheer horror that is necessary to give my works their proper cohesion. To lighten things up a little bit, I found a place for David Newman's oddball little score for Meet the Applegates in the middle before Penderecki's sinister music insidiously makes its way back into the soundscape and concludes the piece.
This coda is not of my usual style. Epic it is indeed but not of my usual sort. This piece is composed largely of more new Penderecki material along with a surprise visit from Trevor Jones' Arachnophobia. Unfortunately the source had SFX so nothing much I could do it about it. After careful consideration I liked the piece so much that I was willing to leave it in, SFX and all, but overlayed some additional cues to help cover it up the best I could. You might think that this was the end after this coda but there's still 1 more volume to go. I will be taking a short hiatus from working on these projects but I will plan to have it up around the new year. I'll keep my details on the coda short but if I engineered this right then you're gonna love it.
As always, exposure to my earlier projects may be necessary to better understand this symphonies. Here is a link to my symphonies 1-5: http://forums.ffshrine.org/f92/b-w-sinfonia-symphonies-%2Anew-2013-halloween-162498/.
Enjoy!
Symphony No. 6: Murder on the Night Plains Vol. 3
2013
6 tracks, TRT: 1:09:42, 320 MP3
https://mega.co.nz/#!l1cTkLST!MeJSgDxZZG3zhJ2zV_6GFjoiIgRKhqOKpAANs3_ vqzw
Note: I was really not expecting to have this done before the new year but luck was with me and I acquired some free time right in time for the Thanksgiving holiday season. As the days of fall draw on and winter comes ever forth, this music is meant to represent the intensity in the change of the seasons. I was so overjoyed upon re-listening to Symphony No. 5 and with the new year being too far away, Thanksgiving felt like the perfect time to start another project. This project was a magical one to be involved in. While my trademark action cues are here, they are no longer the frontrunner. For this project, I utilized more of the brass, string and choral sections. I really tried to keep this project to the traditional symphony format of 1 overture, 3 movements and 1 coda however, the originally mixed coda was almost 35 minutes long so a split and the creation of a 4th movement was necessary.
For the overture, our ears are startled by the opening stinger from Daniel Licht's score to Hellraiser: Bloodline as it seamlessly transitions to the opening cue from Drag Me to Hell. There our first choral elements are introduced. Re-introduced is our first reprise of the Exorcist rejected score material that was first introduced in the intro for Murder on the Night Plains Vol. 1. I used the rejected trailer music cue and to tie it off at the end, this is where I was inclined to tap into my more obscure collection. The cue ends with the finale of the main title music featured in Dante Tomaselli's Horror, a film that still to this date does not have a score release. Tomaselli has some amazing sounds in his films.
We transition over to movement 1 which is a nice suite presentation of Misha Segal's Phantom of the Opera score joined by Robert J. Kral's The Haunting in Connecticut with some surprise Beltrami bits thrown in there for good measure. Fans of Beltrami will love this movement. To conclude, we're treated to a nice suite of material from Michael Wandmacher's score to The Last Exorcism Pt. 2 seamlessly blended with music from Dario Argento's Inferno, composed by Keith Emerson. It's a real treat.
Movement 2 is where I have my fun yet again. Unlike my previous symphonies, I really restrain myself on this one. Fans of James Newton Howard will rejoice as I was gracious enough to include a sneak peek of unreleased score from his Dreamcatcher score. Fans of the film will recall the particular scene as the helicopters are making their way to the alien ship in the crater that's hands-down the most epic scene of the movie. I beef it up from the original recordings by introducing more rhythmic drums and bass. There the previously unreleased material ends and the previously available material begins. James Newton Howard's Dreamcatcher is an amazing score. I really enjoyed working with it. It lent great help to this movement. This is also a very percussive piece but not Brian Tyler overbearing. I also got pretty creative and dived even deeper into my obscure collection where I re-discovered esteemed Armenian composer Ashot Zohrabyan's "Hommage � Metsarents" which lends a definite helping hand in amping up that vintage style of horror. It does sound flatter than the rest of the material but that is intended. Once Zohrabyan's material ends, Leigh Harline's score for Pinocchio makes an appearance to conclude the movement.
Movement 3 started out as a happy accident. It all began with a cue from Danny Elfman's Mars Attacks that had some of Sonic Mayhem's score for the video game Prototype laying under it in the track below it that I had forgot to remove from the timeline before I began playback that just instantly compelled me to make it work and keep it in. It all ended up lining up VERY well and ultimately paid off with my next addition: Harold Arlen's absolutely amazing score to the 1939 classic, The Wizard of Oz. Since the source was mono, I faked a stereo image by adding a few milliseconds of silence in the right channel which helped give it some sense of dimensionality. I did swap up the channels off and on in places to keep it from sounding plain and give it that extra sense of dimensionality. The cymbal crash that ends that segment is pretty cool in that due to the faked stereo image, it now has a quick stereo effect to it that just has to be heard to be understood. For the remainder of the movement, you are treated to a lengthy but competent suite of Rogue Banos' score to Fragile - A Love Story. With each new score I uncover from Banos, it's a neverending adventure. Banos truly is the modern master of music and ended up being one of the the main reasons I would sit through the Evil Dead remake more than once. I have never seen the film Fragile but I definitely will now. Banos' music is also easily adaptable to my works as you have heard evidenced in several of my past works. Fragile was no exception from Evil Dead though. The "good" bits of the score were all spread out so a lot of chopping was necessary to balance it all out. There are some absolutely amazing choral pieces from the pen of Banos in this that I have never showcased in my works before. Everything is building up to an amazing finale.
The eccentric Movement 4 kickstarts the beginning of the end with a slow introduction by Polish composer Penderecki's Cello Concerto No. 2. This movement along with the coda bring my first symphony "Blood Wings" strongly to mind. As was the case with Blood Wings, this is another tribute to Penderecki. His music kick started my interest in these projects, it's only natural to keep him around for the finale. Penderecki's music succeeds yet again at evoking the right sense of dread and sheer horror that is necessary to give my works their proper cohesion. To lighten things up a little bit, I found a place for David Newman's oddball little score for Meet the Applegates in the middle before Penderecki's sinister music insidiously makes its way back into the soundscape and concludes the piece.
This coda is not of my usual style. Epic it is indeed but not of my usual sort. This piece is composed largely of more new Penderecki material along with a surprise visit from Trevor Jones' Arachnophobia. Unfortunately the source had SFX so nothing much I could do it about it. After careful consideration I liked the piece so much that I was willing to leave it in, SFX and all, but overlayed some additional cues to help cover it up the best I could. You might think that this was the end after this coda but there's still 1 more volume to go. I will be taking a short hiatus from working on these projects but I will plan to have it up around the new year. I'll keep my details on the coda short but if I engineered this right then you're gonna love it.
As always, exposure to my earlier projects may be necessary to better understand this symphonies. Here is a link to my symphonies 1-5: http://forums.ffshrine.org/f92/b-w-sinfonia-symphonies-%2Anew-2013-halloween-162498/.
Enjoy!