When it comes to film music, there is one thing that is always a puzzle for every fan - the process of making the score.
classical music, as the last two examples shown in the
, film music has a more complex creation process.
If you want to know everything about classical music (compositionally speaking), you must study the scores.. The pencil and paper were everything that
needed to create their masterpieces.
On the other hand, film music demands much more than good composing skills. The modern composer needs to understand recordings, ambiances, DAW, sample libraries, etc.. so that he or she can create an expressive and realistic mockup.
In the next video, there is one cue from the Gladiator score entitled Patricide. The composers of this score have used a real orchestra. However, the real musicians were not alone. Hans Zimmer and Lisa Gerrard used a lot of synths and sample libraries playing along with the recordings of The Lyndhurst Orchestra.
There is beautiful and expressive string writing in the Patricide cue with many highlights on the cello lines.
As I don't have the original score, the transcription was necessary, and I believe that over 90% of it is accurate. The other 10% goes to some inner and low lines that were not very clear but made sense compositionally speaking.
the original Patricide, I hear only strings and nothing more. They
seem, however, to be reinforced by a smooth organ synth and some