#harry-gregson williams

[avaford2009]

This December 23rd, Dreamworks Animation announced a prequel of "Shrek Forever After" for an upcoming fairy tale romance feature-length adventure, "Princess Amelia and the Pied Piper". It was promising and it shows a watercolor 2D style created in CGI and looks stunning. The upcoming flim is about when a lonely and orphan princess in Hamelin decides to find her true love, revealed to be Pied Piper (who's hired by Rumpelstiltskin), and she knew that seen too many bad things in the Kingdom of Far, Far Away. Here are the cast of "Princess Amelia and the Pied Piper"! Mae Whitman as Amelia in her speaking role and Ariana Debose in her singing role. Since Jeremy Steig died in 2016, we've decided to have a new flutist actor! Despite being unable to speak, he was voiced by the new flutist Emmanuel Pahud. Featuring the original music score by Harry-Gregson Williams and original songs by Robert Lopez and Kristen Anderson-Lopez.

[mando-lore]

shout out to Harry Gregson Williams for forever changing my brain chemistry at the age of 13 with the Narnia score

[ahsokatanos-lightsabertechnique]

Time for my annual rediscovery of the fact that the Narnia soundtrack goes hard

[aurianavaloria]

The King - Ambience Edit 2

Another "ambience"-style edit of Harry Gregson-Williams's "The King" I whipped up, in the same spirit as the first. Headphones recommended.🎧😁

Hopefully the Baldwin writers will find this useful for mood-setting/inspiration... or just squeeing in general, lol.

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This video is not made for profit. All rights belong to their original owners.

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Music: “The King” - Harry Gregson-Williams

[emiliosandozsequence]

a good soundtrack can sway me to like a movie so easily, even if it's otherwise bad.

[avaford2009]

Here are the lyrics of 9 original songs written by Robert Lopez and Kristen Anderson-Lopez from upcoming social media art and literature platform Dreamworks’ Princess Amelia and the Pied Piper!

Welcome to Hamelin (Parody of "Welcome to Rosas" from "Wish") Lyrics, Song by Ariana DeBose, and Citizens of Hamelin

Amelia: Welcome to Hamelin! Come on, come this way! Where the greatest creations are all on display There's no other place just as full of surprise Where your dreams and your reality can collide

You wanna dance on beat? Or to have hair touch down to your feet? Go to outer space? Well, hey, you've come to the right place

Amelia and Citizens of Hamelin: 'Cause here in the city of Hamelin You can turn all your wanting to wishing No "what-ifs" and no "wonders" Oh here, in the city of Hamelin It's unlikely that you'll be unhappy with so much to discover

A home for me, for you, and all of us The city of Hamelin

So like, we have Pied Piper as you told And he plays the flute five years ago With rid of the rats and led the Weser River to drown No, no, no, I'm serious! But he is kindness

He's even like himself with a twist

Hamelin Townsperson Female: And someone that I'd like to kiss

Amelia: Oh, dear! For a magical wish And there you have it (Poof! It's a swish!)

Ooh and hey, did I mention when you here in any age You here to part of audition in a stage And he agree or disagree, every person he acquires And once a month, he approves someone's for desire It could be you someday, or for me (Ooh, I can't wait!)

Hamelin Townsperson Man: Does it hurt?

Hamelin Townsperson Boy: Do you cry?

Amelia: Oh! No, and you won't even miss it when you say goodbye

Amelia and Citizens of Hamelin: 'Cause here in the city of Hamelin You can turn all your wanting to wishing No "what-ifs" and no "wonders" Oh here, in the city of Hamelin It's unlikely that you'll be unhappy with so much to discover

A home for me, for you, and all of us The city of Hamelin

I Almost Remember (Once Upon A December) (From "Anastasia") Lyrics, Song by Ariana DeBose

Amelia: Dancing bears, painted wings Things I almost remember And a song someone sings Once upon a December

Someone holds me safe and warm Horses prance through a silver storm Figures dancing gracefully Across my memory...

Chorus: Ahh-ahh-ahh, ahh-ahh-ahh Ahh-ahh-ahh-ahh-ahh-ahh-ahh Ahh-ahh-ahh, ahh-ahh-ahh Ahh-ahh-ahh-ahh-ahh-ah-ahh

Ahh-ahh-ahh, ahh-ahh-ahh Ahh-ahh-ahh-ahh-ahh-ahh-ahh Ahh-ahh-ahh, ahh-ahh-ahh Ahh-ahh-ahh-ahh-ahh-ah-ahh

Amelia: Someone holds me safe and warm Horses prance through a silver storm Figures dancing gracefully Across my memory!

Far away, long ago Glowing dim as an ember Things my heart used to know Things it yearns to remember

And a song someone sings...

Once upon a December

This Journey To The Past (From "Anastasia") Lyrics, Song by Ariana DeBose

Amelia: Heart, don't fail me now Courage, don't desert me Don't turn back now that we're here People always say Life is full of choices No one ever mentions fear Or how the world can seem so vast On a journey to the past!

Somewhere down this road I know someone's waiting Years of dreams just can't be wrong Arms will open wide I'll be safe and wanted Finally home where I belong! Well, starting now I'm learning fast! On this journey to the past!

Home, love, family There was once a time, I must have had them too Home, love, family I will never be complete until I find you!

One step at a time One hope, then another Who knows where this road may go? Back to who I was On to find my future Things my heart still needs to know!

Yes, let this be a sign Let this road be mine Let it lead me to my past And bring me home... at last!

Life's Too Short (From "Frozen") Lyrics, Song by Ariana DeBose and Judy Kuhn

Amelia: I came all this way today to give us a fresh start But now that you're like "wow" It's all like warm in my heart

Goldie: I'm sure glad you like it sis, 'cause this is the real me You have no idea how great it feels to be free

Amelia: We've been falling out for way too long, so let’s forget who’s right

Goldie: And forget who’s wrong

Amelia and Goldie: Okay!

Goldie: Why don’t you stay, there’s room for family in my court

Amelia and Goldie: Cause life’s too short!

Amelia: To always feel shut out and unloved by the sister I long to know

Amelia and Goldie: Life’s too short!

Goldie: To never let you celebrate me, the future queen of Hamelin of gold

Amelia: Whoa, whoa, whoa!

Amelia and Goldie: I never understood, but now I do Life’s too short to miss out on a sister like you

Amelia: (spoken by Mae Whitman) So you’ll come back, then.

Goldie: (spoken by Florence Pugh) Back?

Amelia: To thaw the fjord. It’s frozen over, no one can get in or out?

Goldie: Oh.

Amelia: Sooo....

Goldie: (scoffs in disbelief) I don’t believe you!

Amelia: What? I just assumed that you'd have to...

Goldie: That I'd shove on the gloves, that’s how your story ends?

Amelia: It does! It's just like it was, except for we’ll be best friends

Goldie: So that’s been your plan to force me back in a cage?!

Amelia: Whoa, whoa! Don’t get upset let’s get back on the same page

Goldie: Gee, thanks for coming up to see the place And showing off your mastery of tact and grace Okay! Run down the hill and spill my secrets, make a full report! Bye-bye!

Amelia: Wait!

Goldie: Cause life’s too short!

Amelia: There it is! The door you’d love to slam in my face! You did well there, for a spell, but now you’re back in the same place Kick me out if you want, but I’m the only one who Is not one hundred percent convinced the prophecy’s you!

Goldie: (gasps) You can think whatever you want 'cause I don’t care You’re a fool who married a stranger!

Amelia: That is so unfair!

Amelia and Goldie: I swear I’m through with taking your unshaking sisterly support!

Amelia: Support!

Goldie: Support!

Amelia and Goldie: HAH! Life’s too short!

Amelia: To let you treat the people down there just as coldly as you always treated me

Goldie: La la lalala laaaa!

Amelia and Goldie: Life’s too short!

Goldie: To listen to a reckless fool who only ever sees the things she wants to see!

Amelia: You don’t know me...

Goldie: You have no idea...

Amelia and Goldie: What I've been through! Because of you Life’s too short to waste another minute! Life’s too short to even have you in it! Life’s too short!

Amelia: (spoken by Mae Whitman) I've been so wrong about you!

Goldie: (spoken by Florence Pugh) You?! You've been so wrong about everything!

Amelia: Maybe you are the prophecy!

Goldie: I am NOT the prophecy!

And This Is The Thanks I Get?! (From "Wish") Lyrics, Song by Judy Kuhn

Goldie: I can't help it if mirrors love my face It's genetics! Yeah, I got these genes from outer space Peep the name, I'm magnificent I put the "I" in "omnipotent" I'm passionate, I'm not petulant Someone praise me for my benevolence Uh, just look, ha-ha I'd give the clothes off Benito's back If you really needed that I'd be the first one to volunteer Henry If your home were to crumble Or if you were in trouble

I let you live here for free And I don't even charge you rent I clean up all your messes And I'm always there when you need to vent I give and give and give and give You'd think they'd all be content And all I really want is just a little respect

And this is the thanks I get? (Da-da, da-da, da-da, da-da, da-da, da) This is the thanks I get? (Da-da, da-da, da-da, da-da, da-da, da) And this is the thanks I get? (Da-da, da-da, da-da, da-da, da-da, da) And this is the thanks I get? (Da-da, da-da, da-da, da-da, da-da, da)

"You're so brilliant" Ah, that's the least you could say There's more, admit it "You're cute and strong and bold and brave, " thanks See this kingdom? I built it up And you still complain? Ungrateful much? Mm, are you sure that you're not the prob? I'd love to see you try and do my job, oh-ho!

I granted fourteen wishes last year Come on, that's a high percent And now you're questioning your king? The disrespect I just underwent You know I always got your back Yeah, really though, it's no sweat Since the day you were born and the day that we met

And this is the thanks I get? (Da-da, da-da, da-da, da-da, da-da, da) This is the thanks I get? (Da-da, da-da, da-da, da-da, da-da, da) And this is the thanks I get? (Da-da, da-da, da-da, da-da, da-da, da) And this is the thanks I get? (Da-da, da-da, da-da, da-da, da-da, da)

I didn't wanna do this I swore I'd never do this But I'm hypnotized by how these pages flip 'Cause I refuse to have my power stripped A potion, a spell, a summon, a curse? Anything to make that light reverse To this book, I don't wanna be tethered, but Desperate times call for desperate measures Brr, where was I? Oh, yeah

There's a traitor in this town And still I remain unbent Come out now, explain yourself I'm sure it's all just an accident Well, whoever finds them first Now, that's a wish well spent Honestly, keeping you safe should be worth every cent

And this is the thanks I get? (Da-da, da-da, da-da, da-da, da-da, da) This is the thanks I get? (Da-da, da-da, da-da, da-da, da-da, da) And this is the thanks I get? (Da-da, da-da, da-da, da-da, da-da, da) This is the thanks I get? (Da-da, da-da, da-da, da-da, da-da, da) Oh, this is the thanks I get?!

I Make This Wish (From "Wish") Lyrics, Song by Ariana DeBose and Dreamworks

Amelia: Isn't truth supposed to set you free? Well, why do I feel so weighed down by it? If I could show them everything I've seen Open their eyes to all the lies then Would they change their minds like I did? But when I speak, they tell me, "Sit down" But how can I when I've already started runnin'? Oh, this is where we've been, but it's not where we belong And I may be young, but, I know I'm not wrong

So I look up at the stars to guide me And throw caution to every warning sign If knowing what it could be is what drives me Then let me be the first to stand in line So I make this wish To have something more for us than this So I make this wish To have something more for us than... this!

Hey, yeah, yeah, yeah! Hey, yeah, yeah, yeah, ah-ah! More than this, oh-ah-ah-ah!

I never knew I needed room to grow Yeah, I did what I was told when someone told me "No" Now I've got all of this freedom in my bones But I've still got the lid on, so it doesn't overflow 'Cause I've got reservations and hesitations On where I should even begin! I'm past dipping my toes in But I'm not, no, I'm not past diving in! If I could just be pointed in any given direction On where to go and what to do My legs are shaking, but my head's held high The way you always taught me to...

So I look up at the stars to guide me And throw caution to every warning sign I'm sure there will be challenges that find me But I can take them on one at a time! So I make this wish To have something more for us than this So I make this wish To have something more for us than... this!

Hey, yeah, yeah, yeah! (So I make this wish) Hey, yeah, yeah, yeah, ah-ah! (To have something more) More than this, oh, ah-ah-ah!

So I make this wish To have something more for us than this!

Let It Go (From "Frozen") Lyrics, Song by Ariana DeBose

Amelia: The sun glows yellow on the mountain tonight Not a footprint to be seen My life has been an isolation And it fits like I'm the queen

The wind is howling like this swirling storm inside Couldn't keep it in, heaven knows I tried Don't let them in, don't let them see Be the good girl you always have to be Conceal, don't feel, don't let them know Well, now they know

Let it go, let it go Can't hold it back anymore Let it go, let it go Turn away and slam the door I don't care what they're going to say Let the storm rage on The cold never bothered me anyway

It's funny how some distance makes everything seem small And the fears that once controlled me can't get to me at all It's time to see what I can do To test the limits and break through No right, no wrong, no rules for me I'm free

Let it go, let it go I am one with the wind and sky Let it go, let it go You'll never see me cry Here I stand and here I stay Let the storm rage on

My power flurries through the air into the ground My soul is spiraling in frozen fractals all around And one thought crystallizes like an icy blast I'm never going back, the past is in the past

Let it go, let it go And I'll rise like the break of dawn Let it go, let it go That orphan girl is gone! Here I stand in the light of day Let the storm rage on! The cold never bothered me anyway!

Let It Go (Reprise) (A Fanmade song from "Frozen") Lyrics, Song by Ariana DeBose

Amelia: The snow glows white on the clouds today Not a fingerprint to be seen A kingdom of isolation And it looks like I'm the empress

The chill is howling like this swirling wind inside Couldn't keep it in, heaven knows you tried Don't let them in, don't let them see Be the good girl I always have to be Conceal, don't feel, don't let them know Well, now they know!

Let it go, let it go And you'll rise like the break of dawn Let it go, let it go That crazy girl is gone Here you stand in the light of ray Let the hurricane rage on The wind always bothered you anyway

I Make This Wish (Reprise) (From "Wish") Lyrics, Song by Ariana DeBose

Amelia: So I look out at the stars just like me And I'm begging you to see this as a sign 'Cause I know that if you choose to stand beside me I'll be greater than all your magic flute combined

So I make this wish So I make this wish This wish, this wish

To have something more for us than... this

Chorus: Ah-ah-ah-ah Ah-ah-ah-ah

Amelia: I've had generations of expectations Wondering why, wondering when I'm past dipping my toes in I know it's do or die, it's sink or swim

You were confusing my promises for protection But I know what I've gotta do Hope unchanging, with my wish held high The way you've always taught me to

So I look out at the stars just like me And throw caution to every warning sign What you do in this moment is defining And I can take it on if I'll align!

So I make this wish To have something more for us than this So I make this wish To have something more for us than this!

Chorus: Oh-oh, oh-oh! Ah-ah-ah!

Coming this Fall to a social media art and literature platform near you!

[skyburger]

the guy who did the mgs2 soundtrack did the shrek 2 soundtrack...??

[aokozaki]

Harry Gregson-Williams is a famous composer who you might know for working on the Metal Gear Solid series. However, the reason Kojima wanted to hire someone like Gregson-Williams is that he was a movie composer!

And Kojima of course loves movies and the prestige of making his games just a little more movie-like.

One of my favorite scores Gregson-Williams has done is for the Aardman movie Chicken Run, which is basically a Prisoner of War movie ala The Great Escape... but with Chickens!

Chicken Run got a movie tie-in PS1 game, as many children's movies of the era did, and being that the general vibe of the story is "POW Movie... With Chickens!", guess what then-popular military video game they decided to base their gameplay on?

Sadly, while Harry Gregson-Williams worked on both Chicken Run and MGS (from Sons of Liberty onwards), he had nothing at all to do with Metal Gear Chicken.

[fantasylandbitch]

Playlists to Relax and Write to (Part 2)

Part 1 Part 2 Part 3

I'll update this list when I find more playlists.

[kanerallels]

"We could collect nuts!"

"Yes! And throw them at the Telemarines"

"..."

"Shut up!"

[aurianavaloria]

👑 The King - An Analysis ✨

I've already stated my love for the Kingdom of Heaven soundtrack in a previous post, and in case it wasn't already obvious from my ambience edits, "The King" - essentially, King Baldwin's theme - is one of my favorite tracks on the OST album (if you're curious, "Burning the Past", "Crusaders", "To Jerusalem", and "Ibelin" are my other faves); it so effectively encapsulates his character with several simple variations on a single melody, on top of just being a lovely piece to listen to. What follows is my amateur analysis of this track (fully enabled by @atomnolly - please go check out their art, they're amazing). Please note, however, that I have absolutely zero experience with musical composition and theory. I'm just going by what the piece invokes in me, as a listener, in relation to Baldwin's character in the film.

I'll primarily be analyzing the OST's version of the track, which brings me to my main gripe about the way this piece is presented in the film and one reason why I'm doing this analysis to begin with: there's actually two variants floating out there - the basic OST album version and the Complete/"Full Expanded" album version, the latter of which is how it was implemented in the movie. Unfortunately, in the film, you never get to hear "The King" as its own full track like you do with "Burning the Past", for example. Instead, it's spliced up over the course of several scenes, one of which has nothing to do with Baldwin himself. 🙃

Go figure.

Because of this, I'm using the full "suite" version from the OST (called the "Album Edit" on the complete soundtrack) as, oddly enough, it is far more coherent to listen to than how it actually shows up in the film. More on that later.

The suite opens up with an intro that is called "Golgotha" on the complete soundtrack (unfortunately, Tumblr isn't letting me upload my audio clips no matter what I do, so we'll go by timestamps instead - I highly advise docking the video in your sidebar while you read for convenience). Between 0:00 and 1:20, we get this soft, meandering, mysterious melody on duduk, accompanied by equally mysterious female vocals that briefly drift into a brighter, almost angelic sound. This change in tone is backed by what sounds like a glass harp before the duduk repeats the initial melody.

I've noticed that the "tinkling" glass harp often shows up in the film to seemingly emphasize something ethereal or supernatural, and we mostly hear it in connection to Baldwin, although it does spring up in other places on occasion. Each time it's used, it invokes the slightest bit of tension, as if it's a cue to think more closely about whatever it is the viewer is looking at.

Even more intrinsically tied to his character, however, is the presence of the Armenian duduk, which, if I haven't missed anything anywhere (which I could have), doesn't appear in any track other than those clearly associated with the king. In this way, I think we can effectively say that, as far as the KoH soundtrack goes, the duduk is "his" instrument - fitting, considering his Armenian heritage.

As a side note, this is why it's strange and somewhat frustrating to me to have this intro segment tacked onto Balian's visit at Calvary in the film, because, after hearing it as part of "The King" suite on the album edit, it's obvious that the duduk signals Baldwin's presence. Yet at this point, the king hasn't even been introduced and won't be for a few more scenes. I do believe it replays in full after Balian's invitation to speak with Baldwin, but it is almost completely overshadowed by his conversation with Sibylla, leading the viewer to possibly attach it to her rather than her brother.

Back to the duduk. The Armenian duduk, a double-reed instrument traditionally made of apricot wood, has a very distinctive sound that's been described by listeners as everything from mournful, lonely, and haunting, to relaxing and soulful, to majestic and even romantic, depending on how it is played. This powerful versatility is certainly demonstrated in "The King", beginning with this introduction that I would say ventures into "haunting" territory. In fact, it almost feels like a lure - a siren's call for listeners.

After that call, we get the beginning of what is "The King" on the Extended soundtrack and the first appearance of the leitmotif that is attached to Baldwin from that point forth. Between 1:20 and 1:50 on the album edit, we have a very "gentle" (as @atomnolly put it 😁) melody played on a flute, first heard when Baldwin is beckoning Balian to come closer, again accompanied by the glass harp. While starting at a lilting higher pitch, it soon trails off into a lower one before a slight pause, and then a slide of strings precedes a repetition of that same melody at a lower pitch than the first. A solemn tension builds from then until 2:24, at which point, in the Complete soundtrack, it is very obviously and awkwardly chopped to silence. 🙃We'll get back to that in a bit.

This introduction of Baldwin's leitmotif is a very interesting point of the suite, because the almost light airiness of the flute doesn't last very long. It soon gives way to a much richer, even "darker" sound. For me, this represents what belies the almost angelic appearance of the king - there's far more depth there than his friendly introduction might suggest, and this is reflected in the music itself... brightness intertwined with mystery, and possibly a little danger (this is a king we're talking about, here, with all the power that position provides).

This mystery is further emphasized when the duduk comes back in, echoing the leitmotif between 2:25 and 2:50, and it is further strengthened by the dual presence of the glass harp and growing strings supporting it. Unfortunately, this part doesn't show up at all during Balian's first conversation with Baldwin; in fact, it is put off until the middle of "Terms" on the complete soundtrack: the discussion with Saladin at Kerak. IMO, it would have been far more fitting to have it in the background during the most serious part of Baldwin's lecture (a la my first atmosphere edit); this is really the second-strongest iteration of his leitmotif and should have accompanied his most powerful quote in the film.

What comes after is the closest thing we get to a battle theme for Baldwin. From 2:50 to 3:06 we get another repetition of the leitmotif by the duduk, but in its strongest form: at a higher pitch but with greater power than before, it is accompanied by drums and backed by strings that give a sense of urgency. This is the king on horseback, both right before the meeting with Saladin and immediately following. Utterly gone is the glass harp - mystery gives way to majesty.

The leitmotif then continues with even stronger strings alongside the duduk at a lower pitch from 3:07, almost overpowering it, before being repeated a final time by horns at 3:22. This, I believe, is essentially a royal fanfare of sorts; brass has been associated with military and nobility (as the ultimate leadership of said military) since ancient times, and it is here that the score emphasizes Baldwin's role as commander of his kingdom's army. Again, unfortunately, this part isn't kept singular to Baldwin and is replayed in the future scenes of Balian's battle at Jerusalem - it's possible this is intended to evoke the memory of Baldwin, but it further takes away from the composition's uniqueness.

At 3:37, then, we get a small "falling action" portion that actually doesn't appear where it was intended. According to Drake55116's analysis, this particular bit was actually supposed to play while Baldwin dismounted his horse and approached Raynald in Kerak's courtyard, but was ultimately cut. I'm not sure why - it has a definite sense of "impending doom" to it, not just for Raynald, but for Baldwin himself, as this becomes his last great "hurrah" as king. Both the string and horn buildups are wonderful and really emphasize it as the climax point before the disaster that follows.

After that, interestingly enough, the portion that appears at 4:17 on the album edit is actually put where the leitmotif chops off suddenly during Baldwin's earlier conversation with Balian on the Extended soundtrack. To be honest, I think it would have served just fine during or even after Baldwin's interaction with Raynald instead. The slide of the low strings and the slightly discordant horns continue that regal majesty, but also provide appropriate tension for the situation.

Briefly returning to the initial conversation between Baldwin and Balian - there is one portion of the theme that is reserved for the Complete soundtrack and doesn't appear on the OST album edit: at 56:28 there is a unique high string version of the king's leitmotif followed by a slower, half repetition by the duduk, which has had an echo added to it. It essentially serves to "close-out" their conversation after Baldwin gives his orders to go to Ibelin. This iteration is much, much softer in tone, and with the echo and the growing glass harp sound alongside it, it seems to purposefully emphasize the ethereal mystery of the king, but this time with a definite positive tone... perhaps reflective of Balian's hopeful outlook on him?

Back to the album edit. From 4:42, the leitmotif appears again as an even higher flute than it first appeared, almost delicate. A deliberate pause follows with emphasis on the glass harp between 5:06 and 5:15 before the duduk echoes the theme one last time... the softest and slowest it's played on the whole track as it extends to the end. Here, from 4:42 onward, is the dying king. A certain innocence is reflected in the high flute notes, weariness and vulnerability conveyed through the duduk. Despite being the gentlest segment of the suite, it is perhaps the most powerful way to close it out, the prior strength and mystery quite literally fading away into nothing.

In essence, I think "The King" would have been much more effective presented in the movie exactly as it appears as a suite on the OST, going precisely in that order and restricted to Baldwin's appearances alone. As a whole, it perfectly illustrates the king as a character - the flute and glass harp reflecting the angelic elegance, the horns the majesty, the duduk the mystery, power, and tragedy. Harry Gregson-Williams's composition is beautifully-deep despite its relative simplicity, and it adds so much to every scene in which Baldwin appears; thoughtfully-crafted to invoke the above feelings in the audience, it effectively enhances the Leper King's brief but powerful presence in the film.

[artist-issues]

You can laud Lord of the Rings all you want, but I’ll never love a fantasy soundtrack more than I do The Chronicles of Narnia; The Lion, the Witch, and the Wardrobe’s (2005.)

[cinesludge]

Movie #19 of 2023: The Equalizer 2

[squashedcatsorchestra]

Четверговая соль 🎶

Сегодня поздравляю всех причастных и непричастных с наступающим днём Святого Патрика (праздную его с детства - совпадает с моим днём рождения;)) и ставлю вам ещё немного своего любимого околофолка!

Эта песня так хороша, что в честь неё сняли одноимённый фильм! И он тоже неплох, а саундтречную версию люблю за то, что она придаёт некоторую уверенность в себе: слушаешь непрофессионалов и понимаешь, что сам(а) поёшь не катастрофически хуже.

К делу: композиция написана в вальсовом ритме на одной теме с вариациями, что в куплете, что в припеве. У песни долгая история, в более-менее современном виде она закрепилась в 1950-х (конечно, усилиями конкретного автора Фрэнсиса МакПика), а ранее её адаптировали в XIX веке, но корнями она уходит всё равно в народ.

Знакомо с первых нот! Говард Шор и правда вдохновлялся приёмами XIX века (откуда есть-пошёл Wild Mountain Thyme) плюс использовал вид флейты - вистл, тоже из тех времён. Медно-духовые инструменты добавляют эпичности, а струнные передают хоббитскую суетливость и оптимизм (но у меня они больше ассоциируются с французским королевским двором века эдак XVIII).

Ещё одна композиция, которую можно сыграть, если вы сильно зафальшивите Wild Mountain Thyme и сделаете вид, что так и задумано. Классическая композиция для рубежа XX и XXI веков: два куплета, два припева, аутро. От начала к концу нарастает громкость, подключается всё больше инструментов (только в инструментальном бридже наступает небольшое затишье перед бурей финалом).

Снова кино! На этот мотив написана ещё и песня, которую исполняет Дана Гловер, но там больше ударных и других современных фишек, а вот эта "сказочная" версия стилизована под общую условно средневековую атмосферу мультфильма. Как и Wild Mountain Thyme, подходит для вальсов благодаря трёхдольному метру. За характерное "средневековое" звучание отвечают духовые инструменты и арпеджио вверх-вниз, где вначале происходит небольшой скачок, а потом берутся близкие звуки (и наоборот).

Возвращаемся к фолку, а также к морской тематике - лирический герой плывёт из Ирландии в Нью-Йорк. Мелодия известна с XVIII века, а текст переписывался много раз (и High Kings тоже добавили в него много своего). Очень интересен минимальный аккомпанимент: в первом куплете это только гитара, причём исключительно арпеджо на сильные доли, которое затихает до следующего удара. Постепенно появляется постоянный тихий бой, а вот в ярком сочном бридже в аккомпанименте звучат одни ударные, мелодия полностью остаётся в вокале. Заканчивается песня - нет, не ферматой (когда ноту тянут сколько угодно), а мощным ударом барабана - для той же эпичности.

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DreamWorks' Princess Amelia And The Pied Piper Deleted Scene: Amelia and her Music Box

This deleted scene is shown where Amelia finds her long-lost music box in the abandoned tower in the abandoned Amelia's palace. As she winds up her music box, she sings an lullaby. An river lullaby! As the song ends, Amelia breaks down in her tears.

Coming this Fall to a social media art and literature platform near you!