When it comes to film music there is one thing that is always a puzzle for every fan - the process of making the score.
Unlike
classical music, as the last two examples shown in the
previous
articles, film music has a more complex process of creation.
If you
want to know everything about classical music (compositionally speaking)
you have to study the scores. The pencil and paper were everything that
Beethoven and
Mozart needed to create their masterpieces. On the other
hand, film music demands much more than good composing skill. The modern
composer needs to understand about 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.
In the Patricide cue there is a beautiful and expressive string writing with lots of 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.
In
the original Patricide, I hear only strings and nothing more. They
seem, however, to be reinforced by a smooth organ synth and some
sample libraries.
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