Storytelling orchestral soundtrack underscore with an emotional, heartfelt and tender mood building to a bright, triumphant and patriotic resolution. Beautiful, inspiring, hopeful and yearning background music with ebbs and flows.
Music Track: A New Beginning
Composer: Jon Brooks
Contact Jon to license this music for your production.
YouTube: http://www.youtube.com/jonbrookscomposer
Facebook: https://www.facebook.com/JonBrooksComposer
Website: http://www.jonbrooks.co.uk
Twitter: https://twitter.com/JonBrooks_Music
SoundCloud: https://soundcloud.com/jonbrooks-1
Instagram: https://www.instagram.com/jonbrookscomposer
TikTok: https://www.tiktok.com/@jonbrookscomposer
Blog by Jon Brooks specialising in Logic Pro X templates, music articles, Youtube videos, music production for film and TV, musical analysis and all things regarding audio production. Apple music and iTunes products are also featured within the blog. Jon is a British composer scoring music for film, television and advertising.
Showing posts with label Soundtrack. Show all posts
Showing posts with label Soundtrack. Show all posts
Thursday, 14 October 2021
Friday, 21 May 2021
Wrong Time, Wrong Space (Soundtrack) Jon Brooks Music
Soundtrack for 'Wrong Time, Wrong Space' by film composer Jon Brooks. Animation by Mark Stirton.
Saturday, 6 April 2019
Teen Taal (Complete Soundtrack) Logic Pro X Template Download - Jon Brooks Music Composer
Download the full length Logic Pro X Project Template for the complete 'Teen Taal' original motion picture soundtrack background film score. The downloadable project session includes all the MIDI regions, programming, instrumentation, tempo changes, equalisation, automation etc. for the full film score.
Total Duration:1 Hour 47 minutes
Download Size: 3.96 GB
(Uncompressed size: 4.56 GB)
Cinematic, sentimental and dramatic orchestral instrumental music with Indian instrumentation and flavours fused with western music building to an ominous and suspenseful conclusion. Music composed, orchestrated and programmed in Logic Pro X by Jon Brooks.
Please note: It's likely that you'll have to replace some of the instruments/plugins for similar ones unless you have all of them yourself; so playback might be slightly different. However, impulse responses, Logic Pro X effects/plugins and audio files etc. are included.
Audio Channels: 14
MIDI Channels: 82
Buses: 3
Main Output: 1
Sample Libraries/Plugins used:
- EXS24
- Omnisphere
- Autotune
- Vienna Symphonic Library (Standard Edition+ and Extended Edition+)
- Play
- Kontakt
- Ivory (Synthogy)
- Stylus
- Project SAM (Symphobia 2)
- VSL Convolution Reverb
- VSL Multiband Compressor
- East West Ra (Sitar, Tambura, Esraj)
- Worldpack EXS Instruments
- East West Silk (Sarod)
- Ethno World 2
- VSL Strings Pro
- Advanced Orchestra
- Project SAM True Strike 1
- Project SAM True Strike 2
- London Orchestral Percussion
- Distorted Reality 2
- Action Drums (Stylus)
- Project SAM Trombones
- VSL Horns
YouTube: http://www.youtube.com/jonbrookscomposer
Facebook Page: https://www.facebook.com/JonBrooksComposer
CDBaby: http://www.cdbaby.com/Artist/JonBrooks1
SoundCloud: https://soundcloud.com/jonbrooks-1
Website: http://www.jonbrooks.co.uk
IMDB: https://www.imdb.com/name/nm1929142/
Twitter: https://twitter.com/JonBrooks_Music
This music is subject to copyright and is provided for tutorial and demonstration purposes only. © 2016 Jon Brooks.
Thank you for checking out my music and for downloading my DAW templates. I specialise in music production for film, television and advertising. For additional information, please visit: http://www.jonbrooks.co.uk
Teen Taal: 'A journey in the footsteps of a father'.
Director: Shakirul Alam
Film Synopsis: A classical musician in Delhi struggles to take his music forward and his son attempts to revive his unfinished dream.
Wednesday, 9 January 2019
Dark Highlands - Horror Movie - OUT NOW
DARK HIGHLANDS
Now out in the USA and Canada on cable, Blu-ray, Streaming, Download and DVD.
December 2018
A Japanese artist visiting the Highlands of Scotland, is about to find out that one wrong word can get you into a lot of trouble. Especially when not everyone in Scotland, is friendly. When THE ARTIST crosses paths with the disgusting GAMEKEEPER - only one of them will leave the Highlands alive. Starring the multi award-winning Japanese actor, Junichi Kajioka (47 Ronin, Johnny English Strikes Again), Dark Highlands is a thrilling cat-and-mouse chase across the vast, unforgiving wilderness of Scotland.
It's available at the following stores:
- Amazon
- iTunes
- PrimeVideo
- Google Play
- Redbox
- Vudu
- Fandangonow
- Microsoft
- YouTube
- Vimeo
- Playstation
- Comcast
- Cod
- Suddenlink
- Shaw
- EastLinkTV
- Walmart
- Barnes & Noble
- Target
- Alliance
Music Composer (Soundtrack): Jon Brooks
Digital Distributor: Gravitas Ventures
Duration: 1 hour 25 minutes
Hats on Sticks Pictures
- CAST
- Junichi Kajioka
- Steve Campbell
- Mike Mitchell
- Brian Cox
- Aria Morrison-Blyth
- Fraser Napier
- Mark Wyness
- Alistair Ritchie
- Lucy Philip
- Barry Thackrey
- DIRECTOR
- Mark Stirton
AWARDS and NOMINATIONS
- WINNER - Best Feature Film (Scottish Independent Film Festival 2018)
- WINNER - Best Scottish Director (Scottish Independent Film Festival 2018)
Saturday, 7 July 2018
Dark Highlands (Soundtrack) "Captive" (Jon Brooks Film Composer)
Captive - DARK HIGHLANDS
(Original Motion Picture Soundtrack)
Film Composer: Jon Brooks
Music Track: 28
Directed by: Mark Stirton
Produced by: Michael G. Clark
Production Company: Hats on Sticks Pictures
Download on iTunes: https://goo.gl/sKUi4S
Listen on Apple Music: https://goo.gl/bb1E74
Listen on Spotify: https://goo.gl/2kvLZj
Download on Amazon: https://www.amazon.com/dp/B07CQV2JLP
Listen on Amazon: https://www.amazon.com/dp/B07CQV2JLP
Download on CD Baby: https://store.cdbaby.com/cd/jonbrooks117
Listen/Download Google Play: https://goo.gl/3iuk7P
Tidal: https://tidal.com/album/88239719
Also available for streaming and download on all other major platforms.
Cinematic, dark and suspenseful orchestral instrumental music soundtrack. Chilling, ominous and sinister thriller/horror film music full of tension and foreboding evil. However, in contrast, it does also feature some beautiful thematic music. Creepy, tense and haunting music with a sense of hideous insanity, urgency, desperation and exhausted melancholy.
Music composed and produced by Jon Brooks. A Japanese artist visits the Scottish Highlands to paint, but he becomes the target of a sadistic and psychopathic killer. Alone, suffering from exposure and hunted, he must find a way to survive.
YouTube Channel: http://www.youtube.com/jonbrookscomposer
Facebook Page: https://www.facebook.com/JonBrooksComposer
CDBaby Artist Page: http://www.cdbaby.com/Artist/JonBrooks1
Sound Cloud: https://soundcloud.com/jonbrooks-1
Official Website: http://www.jonbrooks.co.uk
Twitter: https://twitter.com/JonBrooks_Music
INSTRUMENTATION :
- Strings : Violins, Violas, Cellos, Double Basses
- Woodwind : Flutes, Clarinets
- Brass : Trumpets, French Horns, Trombones, Tuba
- Percussion : Cymbals, Timpani, Celesta, Snare Drums, Japanese Taiko Drums, Bodhran, Metal Pipes, Crotales, Tubular Bells, Xylophone, Gong, Tam Tam, Sonic Boom, Congas, Kick Drum, Bells, Usurp, Anvil, Tambourine.
- Piano
- Prepared Piano
- Harp
- Synthesizers
- Drones
- OUD
- Male Chorus
- Female Chorus
- Bowed Acoustic Guitar
PRODUCTION TEAM :
Director : Mark Stirton
Music by : Jon Brooks
Writer : Mark Stirton
Production Company : Hats on Sticks Pictures
Producer : Michael Grant Clark
Executive Producer : Sylvia Hardie
Executive Producer : Forbes Hardie
Executive Producer : Junichi Kajioka
Executive Producer : Zani Mikyta
CAST :
Junichi Kajioka - The Artist
Steve Campbell - The Gamekeeper
Mike Mitchell - Ghillie
Brian Cox - Opening Narrator
Alec Westwood - Radio Voiceover
Barry Thackrey - Jogger
Michael Grant Clark - Rescue Worker 1
Alistair Ritchie - Male Hiker
Aria Morrison-Blyth - Female Student
Lucy Philip - Female Hiker
Fraser Napier - Male Student
Jane Nyokabi - Nurse
Mark Wyness - Driver
Faustas Talacka - Rescue Worker 2
CREW :
Cinematographer : Michael G. Clark
Film Editing : Mark Stirton
Production Design : Michael Grant Clark
Costume Design : Michael G. Clark
Key Makeup Artist : Michael Grant Clark
Prosthetics Sculptor : Andrew Glazebrook
Second Unit Director/ Assistant Director : Fraser Napier
Special Effects : Michael Grant Clark
Stunts : Mark Wyness
Additional Aerial Cinematography : Innes Gregory
Additional Aerial Cinematography Assistant : Kane Gregory
Camera Steadicam : Faustas Talacka
Aerial Cinematographer : Barry Thackrey
Costume and Wardrobe : Zani Mikyta
Transportation : Mark Maddock
Production Assistant : Zani Mikyta
Production Assistant : Mary Baird Sommerville
GENRE : Horror/Drama
COUNTRY : United Kingdom
Tags: Dramatic Orchestral Music, Orchestra, Film Composer, Scotland, Scottish Highlands, Instrumental, Movie Music, Filmscore, John Williams, Soundtrack, Benjamin Wallfisch, John Carpenter, Danny Elfman, Bernard Herrmann, Psycho, Psychopath, Jerry Goldsmith. Movie Music, Film Scoring, Symphonic.
Thursday, 7 June 2018
Psychopath's Playground - Dark Highlands - Jon Brooks (Original Motion Picture Soundtrack)
DARK HIGHLANDS
Psychopath's Playground
Track 19
(Original Motion Picture Soundtrack)
Film Composer: Jon Brooks
Directed by: Mark Stirton
Produced by: Michael G. Clark
Production Company: Hats on Sticks Pictures
Download on iTunes: https://goo.gl/sKUi4S
Listen on Apple Music: https://goo.gl/bb1E74
Listen on Spotify: https://goo.gl/2kvLZj
Download on Amazon: https://www.amazon.com/dp/B07CQV2JLP
Listen on Amazon: https://www.amazon.com/dp/B07CQV2JLP
Download on CD Baby: https://store.cdbaby.com/cd/jonbrooks117
Listen/Download Google Play: https://goo.gl/3iuk7P
Tidal: https://tidal.com/album/88239719
Also available for streaming and download on all other major platforms.
Cinematic, dark and suspenseful orchestral instrumental music soundtrack. Chilling, ominous and sinister thriller/horror film music full of tension and foreboding evil. However, in contrast, it does also feature some beautiful thematic music. Creepy, tense and haunting music with a sense of hideous insanity, urgency, desperation and exhausted melancholy.
Music composed and produced by Jon Brooks. A Japanese artist visits the Scottish Highlands to paint, but he becomes the target of a sadistic and psychopathic killer. Alone, suffering from exposure and hunted, he must find a way to survive.
YouTube Channel: http://www.youtube.com/jonbrookscomposer
Facebook Page: https://www.facebook.com/JonBrooksComposer
CDBaby Artist Page: http://www.cdbaby.com/Artist/JonBrooks1
Sound Cloud: https://soundcloud.com/jonbrooks-1
Official Website: http://www.jonbrooks.co.uk
Twitter: https://twitter.com/JonBrooks_Music
Bitcoin Donations: 1Kdc2pTsxuzC8M4GFUAETZYzkme4AWsTbP
PayPal Tip Jar: http://www.paypal.me/JonBrooksComposer
INSTRUMENTATION :
- Strings : Violins, Violas, Cellos, Double Basses
- Woodwind : Flutes, Clarinets
- Brass : Trumpets, French Horns, Trombones, Tuba
- Percussion : Cymbals, Timpani, Celesta, Snare Drums, Japanese Taiko Drums, Bodhran, Metal Pipes, Crotales, Tubular Bells, Xylophone, Gong, Tam Tam, Sonic Boom, Congas, Kick Drum, Bells, Usurp, Anvil, Tambourine.
- Piano
- Prepared Piano
- Harp
- Synthesizers
- Drones
- OUD
- Male Chorus
- Female Chorus
- Bowed Acoustic Guitar
PRODUCTION TEAM :
Director : Mark Stirton
Music by : Jon Brooks
Writer : Mark Stirton
Production Company : Hats on Sticks Pictures
Producer : Michael Grant Clark
Executive Producer : Sylvia Hardie
Executive Producer : Forbes Hardie
Executive Producer : Junichi Kajioka
Executive Producer : Zani Mikyta
CAST :
Junichi Kajioka - The Artist
Steve Campbell - The Gamekeeper
Mike Mitchell - Ghillie
Brian Cox - Opening Narrator
Alec Westwood - Radio Voiceover
Barry Thackrey - Jogger
Michael Grant Clark - Rescue Worker 1
Alistair Ritchie - Male Hiker
Aria Morrison-Blyth - Female Student
Lucy Philip - Female Hiker
Fraser Napier - Male Student
Jane Nyokabi - Nurse
Mark Wyness - Driver
Faustas Talacka - Rescue Worker 2
CREW :
Cinematographer : Michael G. Clark
Film Editing : Mark Stirton
Production Design : Michael Grant Clark
Costume Design : Michael G. Clark
Key Makeup Artist : Michael Grant Clark
Prosthetics Sculptor : Andrew Glazebrook
Second Unit Director/ Assistant Director : Fraser Napier
Special Effects : Michael Grant Clark
Stunts : Mark Wyness
Additional Aerial Cinematography : Innes Gregory
Additional Aerial Cinematography Assistant : Kane Gregory
Camera Steadicam : Faustas Talacka
Aerial Cinematographer : Barry Thackrey
Costume and Wardrobe : Zani Mikyta
Transportation : Mark Maddock
Production Assistant : Zani Mikyta
Production Assistant : Mary Baird Sommerville
GENRE : Horror/Drama
COUNTRY : United Kingdom
Tags: Dramatic Orchestral Music, Orchestra, Film Composer, Scotland, Scottish Highlands, Instrumental, Movie Music, Filmscore, John Williams, Soundtrack, Benjamin Wallfisch, John Carpenter, Danny Elfman, Bernard Herrmann, Psycho, Psychopath, Jerry Goldsmith. Movie Music, Film Scoring, Symphonic.
Tuesday, 1 May 2018
Dark Highlands - Original Motion Picture Soundtrack - Music by Jon Brooks - Listen on Apple Music
1. Dark Highlands Opening Titles - 2:19
2. There’s No Other Way - 6:34
3. Brain Damage - 1:04
4. Nowhere to Run - 1:44
5. The Chauffeur - 2:33
6. Highlands Arrival - 1:38
7. Preparation - 2:15
8. The First Night - 1:18
9. Sunrise - 1:10
10. The Artist Paints - 3:37
11. What’s Going On? - 2:25
12. Paranoid - 1:20
13. What’s Out There? - 2:03
14. Hunted - 1:26
15. Lurking In The Trees - 1:07
16. Don’t Close Your Eyes - 3:01
17. Never Far Away - 8:44
18. Make A Run For It - 3:07
19. Bloodthirsty Savage - 4:20
20. Psychopath’s Playground - 1:12
21. Locked Out - 2:13
22. The Escape - 1:18
23. Formulating The Plan - 2:52
24. Human Flesh - 2:10
25. Hiding Place - 2:17
26. Whatever It Takes To Survive - 2:06
27. Something Else Out There - 2:09
28. Captive - 1:55
29. Survival - 2:25
30. Rescue and Recovery - 3:25
31. Dark Highlands Closing Titles - 1:52
Dark Highlands (Original Motion Picture Soundtrack). Music composed and produced by Jon Brooks. A Japanese artist visits the Scottish Highlands to paint, but he becomes the target of a sadistic and psychopathic killer. Alone, suffering from exposure and hunted, he must find a way to survive.
PRODUCTION TEAM:
Director : Mark Stirton
Music by : Jon Brooks
Writer : Mark Stirton
Production Company : Hats on Sticks Pictures Ltd.
Producer : Michael G Clark
Executive Producer : Forbes Hardie
Executive Producer : Jun Ichi
Executive Producer : Zani Mikyta
Music by : Jon Brooks
Writer : Mark Stirton
Production Company : Hats on Sticks Pictures Ltd.
Producer : Michael G Clark
Executive Producer : Forbes Hardie
Executive Producer : Jun Ichi
Executive Producer : Zani Mikyta
CAST:
Jun Ichi - The Artist
Steve Campbell - The Gamekeeper
Mike Mitchell - Ghillie
Brian Cox - Opening Narrator
Alec Westwood - Radio Voiceover
Barry Thackrey - Jogger
Michael G Clark - Rescue Worker 1
Alistair Ritchie - Male Hiker
Aria Morrison-Blyth - Female Student
Lucy Philip - Female Hiker
Fraser Napier - Male Student
Jane Nyokabi - Nurse
Mark Wyness - Driver
Faust As - Rescue Worker 2
Steve Campbell - The Gamekeeper
Mike Mitchell - Ghillie
Brian Cox - Opening Narrator
Alec Westwood - Radio Voiceover
Barry Thackrey - Jogger
Michael G Clark - Rescue Worker 1
Alistair Ritchie - Male Hiker
Aria Morrison-Blyth - Female Student
Lucy Philip - Female Hiker
Fraser Napier - Male Student
Jane Nyokabi - Nurse
Mark Wyness - Driver
Faust As - Rescue Worker 2
CREW:
Cinematographer : Michael G Clark
Film Editing : Mark Stirton
Production Design : Michael G Clark
Production Assistant : Zani Mikyta
Production Assistant : Mary Baird Sommerville
Costume Design : Michael G Clark
Key Makeup Artist : Michael G Clark
Prosthetics Sculptor : Andrew Glazebrook
Second Unit Director/ Assistant Director : Fraser Napier
Special Effects : Michael G Clark
Stunts : Mark Wyness
Additional Aerial Cinematography : Innes A Gregory
Additional Aerial Cinematography Assistant : Kane Gregory
Camera Steadicam : Faust As
Aerial Cinematographer : Barry Thackrey
Costume and Wardrobe : Zani Mikyta
Transportation : Mark Maddock
Film Editing : Mark Stirton
Production Design : Michael G Clark
Production Assistant : Zani Mikyta
Production Assistant : Mary Baird Sommerville
Costume Design : Michael G Clark
Key Makeup Artist : Michael G Clark
Prosthetics Sculptor : Andrew Glazebrook
Second Unit Director/ Assistant Director : Fraser Napier
Special Effects : Michael G Clark
Stunts : Mark Wyness
Additional Aerial Cinematography : Innes A Gregory
Additional Aerial Cinematography Assistant : Kane Gregory
Camera Steadicam : Faust As
Aerial Cinematographer : Barry Thackrey
Costume and Wardrobe : Zani Mikyta
Transportation : Mark Maddock
GENRE: Horror/Drama
COUNTRY: United Kingdom
COUNTRY: United Kingdom
Tuesday, 2 June 2015
"NEW WORLD" - Epic Orchestral Music - Jon Brooks
I worked on this epic orchestral instrumental music a couple of months ago. Great cue to work on for a super client. Some of my subscribers requested I upload more of my epic orchestral music. So, here we are... Enjoy!!
YouTube Channel: http://www.youtube.com/jonbrookscomposer
CDBaby Music Store: http://www.cdbaby.com/Artist/JonBrooks1
Twitter: https://twitter.com/JonBrooks_Music
SoundCloud: https://soundcloud.com/jonbrooks-1
Official Website http://www.jonbrooks.co.uk
Please share, comment, like and subscribe to my Youtube channel. Thank you for your kind support.
"NEW WORLD"
Music Composer: Jon Brooks
(This music is subject to copyright and is provided for demonstration purposes only. © 2015 Jon Brooks)
Some of my musical influences include: Steve Jablonsky, Hans Zimmer, John Williams, Gustav Mahler, Danny Elfman, Coldplay, Two Steps From Hell, Lorne Balfe, Patrick Doyle, Michael Giacchino, Nick Glennie-Smith, Henry Jackman, John Powell, Brian Tyler, Queen, Howard Shore, Ennio Morricone, Jerry Goldsmith, James Horner, Bon Jovi, James Newton-Howard, Bernard Herrmann, Elmer Bernstein, Alan Silvestri, Dvorak, Bill Brown, Aerosmith, John Barry, David Arnold, Leonard Bernstein, Thomas Newman, Randy Newman, Vangelis, Alexandre Desplat, The Beach Boys, John Debney, Harry Gregson-Williams, Elliot Goldenthal, Gabriel Yared, Alan Menken, Klaus Badelt, Christopher Young, A. R. Rahman, Shirley Walker, Debbie Wiseman, Bruce Broughton, Shostakovich, Trevor Jones and Rachmaninov.
TAGS:
"Army Of Doom" army of doom "epic orchestra" Epic Battle Music "epic battle music" "epic war" war song "war music" epic dramatic Hero Roman Heroic Transformers Dark Evil Composer "Jon Brooks" Powerful orchestral Superhero "Two Steps From Hell" Emotional Avatar Batman Xmen Ironman Spiderman Titan Movie Trailer Showreel Orchestra Cinematic Classical Theme TV Space Soundtrack Film Television Instrumental "Logic Pro" Drama Orchestral "Hans Zimmer" "remote control" productions epic music dramatic music army of doom epic battle epic mix best epic music war hero legend skyrim roman heroic transformers soundtrack score evil prometheus superhero two steps from hell emotional music orchestra classical orchestra orchestral, Epic Music, Epiese Musiek, ملحمة الموسيقى, Epic Երաժշտություն, Epic Musiqi, эпічная, музыка, música èpica, 史诗音乐, 史詩音樂, Epic Glazba, epopeo Muziko, eepiline muusika, mahabang tula Musika, Musique Epic, música épica, Epic მუსიკა, Epic Μουσική, એપિક સંગીત, Epic Klas Mizik, מוסיקת Epic, महाकाव्य संगीत, epic Tónlist, Ceol epic, Musica epica, 壮大な音楽, 서사시 음악, Epic Musica, episkā mūzika, epas Muzika, епски Музика, Muzik epik, موسیقی حماسی, Epic Muzyka, Música épica, epic Muzica, Эпическая музыка, Епска Музика, Epic Glasba, Música épica, காவிய இசை, เพลงมหากาพย์, Epik Müzik, епічна музика, مہاکاوی موسیقی, Epic Âm nhạc, Cerddoriaeth Epic, עפּאָס מוזיק.
Sunday, 22 July 2012
"Movie Magic" - Disney Pixar Promo Music
Walt Disney Pixar "Movie Magic"
Music composed and produced in Logic Pro by Jon Brooks. Guitars: Raymund Wee. Please comment, like, share and subscribe. Thank you for your support.
I altered the middle of the video edit. I used a still frame of the Movie Magic animation; originally there should be movie footage. I didn't want to infringe copyright.
For additional information or more music, please visit my website: http://www.jonbrooks.co.uk
Feel free to check out my YouTube channel too: http://www.youtube.com/user/jonbrookscomposer
This video and its soundtrack are subject to copyright and are provided for demonstration purposes only. © 2010 Disney/Pixar, WASP Studios, Jon Brooks.
(As cited on Wikipedia)
DISNEY: The Walt Disney Company (NYSE: DIS), commonly referred to as Disney, is an American multinational diversified mass media company headquartered in Walt Disney Studios, Burbank, California, United States. It is the largest media conglomerate in the world in terms of revenue. Founded on October 16, 1923, by Walt and Roy Disney as the Disney Brothers Cartoon Studio, Walt Disney Productions established itself as a leader in the American animation industry before diversifying into live-action film production, television, and travel. Taking on its current name in 1986, The Walt Disney Company expanded its existing operations and also started divisions focused upon theatre, radio, music, publishing, and online media. In addition, it has created new divisions of the company in order to market more mature content than it typically associates with its flagship family-oriented brands.
(As cited on Wikipedia)
PIXAR: Pixar Animation Studios, or simply Pixar, is an American computer animation film studio based in Emeryville, California. The studio is best known for its CGI-animated feature films created with PhotoRealistic RenderMan, its own implementation of the industry-standard RenderMan image-rendering application programming interface used to generate high-quality images. Pixar began in 1979 as the Graphics Group, part of the computer division of Lucasfilm before its spinout as a corporation in 1986 with funding by Apple Inc. co-founder Steve Jobs who became its majority shareholder. The Walt Disney Company bought Pixar in 2006 at a valuation of $7.4 billion, which transaction made Jobs Disney's largest shareholder.
Thursday, 10 May 2012
Mary Shelley's Frankenstein
"Investigating the Relationship of Music and Image" - Jon Brooks
Contents
- Film information
- Introduction
- Style and Concepts
- Soundtrack
- Breakdown and Investigation
- Conclusion
- References
- Bibliography
- Introduction
- Style and Concepts
- Soundtrack
- Breakdown and Investigation
- Conclusion
- References
- Bibliography
Film Information
Mary Shelley’s Frankenstein:
(1994)
(1994)
Music Composed by:
Patrick Doyle
Patrick Doyle
Directed and Produced by:
Kenneth Branagh
Kenneth Branagh
Starring:
Robert De Niro - The Creation
Kenneth Branagh - Victor Frankenstein
Helena Bonham Carter - Elizabeth
Tom Hulce - Henry Clerval
lan Holm - Baron Frankenstein
John Cleese - Dr. Waldeman
Aidan Quinn - Captain Robert Walton
Robert De Niro - The Creation
Kenneth Branagh - Victor Frankenstein
Helena Bonham Carter - Elizabeth
Tom Hulce - Henry Clerval
lan Holm - Baron Frankenstein
John Cleese - Dr. Waldeman
Aidan Quinn - Captain Robert Walton
Picture Duration: 118 minutes (approx.)
Soundtrack Duration: 69 minutes, 55 seconds (Plus source music and shorter cues not included on the soundtrack recording).
Percentage of music scored to film: 60%
Victor Frankenstein’s research enables him to create a ‘monster’ from various body parts. Subsequently, Victor rejects him. The monster’s recognition of its own presence, loneliness and knowledge of creation, fuels a furious disposition of revenge. Kenneth Branagh guides us through the story of Victor’s quest for knowledge, and the creatures search for his ‘father’.
Introduction
The central subject matter of Mary Shelley’s Frankenstein exists in man’s obsession with the power of immoral creation. This type of film requires sophisticated scoring techniques because of the nature and characteristics of the plot. The film medium, since its inception, has allowed for a realisation of fictional concepts and ideas, and therefore, has sought to create alternate realities through the use of striking visual images and musical scores. In this context, the music suggests a reality that is not possible for the image alone to capture.
Style and Concepts
Before filming began, Kenneth Branagh had asked Patrick Doyle to write a melody to the words of Byron’s poem, ‘So We’ll Go No More A Roving’ (Ref 1). The initial plan was to feature a song during the ballroom scene. This idea was eventually discarded, but the theme remained.
Like many other film scores, Patrick Doyle’s score is based around the leitmotif technique. Not every character has their own theme, but the significant amount of thematic development makes it possible and appropriate to attach similar material to the required scenes. The main theme, featured in its entirety is during ‘The Wedding Night’ scene. As this leitmotif theme occurs throughout, Doyle’s creativity excels as he produces a fully orchestrated score and develops the ideal cues to connote the appropriate mood for the specific scenes.
Soundtrack
Running time: (69’55")
NB: Source music is not included on the soundtrack.
NB: Source music is not included on the soundtrack.
Track 1: To Think Of A Story (3:28)
Track 2: What’s Out There? (2:52)
Track 3: There’s An Answer (4:37)
Track 4: I Won’t If You Won’t (1:58)
Track 5: A Perilous Direction (3:20)
Track 6: A Risk Worth Taking (3:18)
Track 7: Victor Begins (0:54)
Track 8: Even If You Die (2:16)
Track 9: The Creation (2:00)
Track 10: Evil Stitched To Evil (4:43)
Track 11: The Escape (1:47)
Track 12: The Reunion (0:45)
Track 13: The Journal (1:04)
Track 14: Friendless (2:09)
Track 15: William! (2:44)
Track 16: Death Of Justine/Sea Of Ice (3:54)
Track 17: Yes I Speak (5:37)
Track 18: God Forgive Me (0:57)
Track 19: Please Wait (3:21)
Track 20: The Honeymoon (1:16)
Track 21: The Wedding Night (2:05)
Track 22: Elizabeth (4:11)
Track 23: She’s Beautiful (3:36)
Track 24: He Was My Father (6:10)
Track 2: What’s Out There? (2:52)
Track 3: There’s An Answer (4:37)
Track 4: I Won’t If You Won’t (1:58)
Track 5: A Perilous Direction (3:20)
Track 6: A Risk Worth Taking (3:18)
Track 7: Victor Begins (0:54)
Track 8: Even If You Die (2:16)
Track 9: The Creation (2:00)
Track 10: Evil Stitched To Evil (4:43)
Track 11: The Escape (1:47)
Track 12: The Reunion (0:45)
Track 13: The Journal (1:04)
Track 14: Friendless (2:09)
Track 15: William! (2:44)
Track 16: Death Of Justine/Sea Of Ice (3:54)
Track 17: Yes I Speak (5:37)
Track 18: God Forgive Me (0:57)
Track 19: Please Wait (3:21)
Track 20: The Honeymoon (1:16)
Track 21: The Wedding Night (2:05)
Track 22: Elizabeth (4:11)
Track 23: She’s Beautiful (3:36)
Track 24: He Was My Father (6:10)
Breakdown and Investigation
In the first scene Captain Robert Walton (obsessed with reaching the North Pole), with his crew and ship, crash into an iceberg during a turbulent storm. Tracks one and two dramatically accompany the storm and later set the scene by displaying a sense of mystery, darkness and the fear of the unknown as the crew begin to hear strange noises somewhere out in the distance. Sparse excerpts of the main theme are introduced in these tracks with which a recurring chattering and spiky woodwind motif appears that compliments the cold and icy images and help to establish the setting. The audience then begins to discover what the unknown is in the format of a story, which is related by Victor Frankenstein as he appears from the snowy, frozen landscape. Delicate, but dynamic underscore accompanies this scene.
The mood of the music then shifts with the scene change to a lighter and more joyous time in Victor’s life (as a child). Here the audience is introduced to the first cue of source music (unfortunately not on the CD soundtrack), as Victor dances with his mother just before Elizabeth’s arrival and introduction (Victor’s adopted sister). Doyle suitably transforms his main theme into a baroque style dance on the harpsichord as if being performed by one of the characters (Justine) on set. Music then underscores and stitches the scenes from Victor’s childhood to approximately fifteen years on with slower and more reflective music mainly featuring strings and woodwind. Source music is used again for another dance, this time the theme seems to draw influences from composers such as, Bach, Haydn and Mozart, in places sounding like the development from a Sonata making use of the ‘classical’ alberti bass which also features ornamented baroque melodic lines and counterpoint. As Victor’s story unfolds, the audience experience his family life, research, and soon his obsession with solving the problem of death. Death is introduced for the first time when his mother dies. Three years later, whilst visiting her gravestone, in a soliloquy he vows, "no one need ever die, I will stop this ..... I will stop this .... I promise". During Victor’s field experiment in the company of Elizabeth, Justine and Willi, the score begins to create an exciting and playful quality, out of which a magical orchestral moment emerges (track three - 4:01) that compliments the visuals and narrative during the experiment’s results. A few scenes later more source music accompanies Victor’s leaving ball, out of which a more substantial form of the main theme creeps in as the audience begin to perceive what seems to be the beginning of an intimate relationship between Victor and Elizabeth. Victor then proposes to her, and she accepts.
We are then transported to Ingolstadt to where he is to continue his studies. As he enters the rented cathedral-like attic, a short and energetic arpeggio orientated brass figure is announced. Although not on the soundtrack, it is rather similar to the beginning of track seven. The presence of this cue is as if to magnify or hint of what is to become within the attic. From here on, the score assumes a darker role in the production.
Victor manages to acquire the journals of Dr. Waldeman who has just been stabbed by a patient. Doyle stings this scene in a most suitable fashion, incorporating bawling brass stabs and startling rasping trills from the horn section. These journals assist Victor in his quest to create life and fulfill his research. Thinking in the chance that lives can be saved from his experiments; to him, his work is justified. The criminal gets the death sentence (hanging). As he is propelled from his footing, Doyle’s brass motif (beginning of track six) suitably portrays the emotional reaction the audience visualises: a burst of anguish and a sense of inescapable doom. This seems to relate to, and justify Deryck Cooke’s theory (1959), that particular pitch sequences (‘basic terms’) have a one-to-one correspondence with specific emotions. (Ref 2) For example:
Doh-re-mi-re (Minor) - Burst of anguish, which then dies away.
Doh-re-mi-re-doh (Minor) - A sense of inescapable doom.
Doh-re-mi-re-doh (Minor) - A sense of inescapable doom.
Gabriel (1978), found no significant pattern of agreement with Cooke’s descriptions and their emotional content (Ref 3). But surely this depends on the context. If these ‘basic terms’ are harmonised, developed and orchestrated in an appropriate manner, then an understanding may be achieved. In this case, Patrick Doyle’s brass figure relates very closely to that of both the examples above and are executed in the most appropriate manner.
Victor is now capable of creating life, and whatever the consequences, he will continue. This is portrayed in track six, ‘A Risk Worth Taking’. Half way through the track a gloomy rendition of part of the main theme is sounded from a solo french horn combined with strings as Elizabeth begins to worry about Victor and decides to go to him. The cue leaves the audience in a state of suspense.
Track eight accompanies Victor’s preparation for the creation of ‘the monster’ using "raw materials" by "stitching evil to evil". Exhausted, he falls asleep, only to be woken by a knock at the door - that of Henry and Victor’s fiancé, Elizabeth. Both are warning him of the epidemic. Elizabeth enters and is shocked to see how Victor is living. Urging him to leave, she pleads for the cancellation of his project due to the plague. He refuses, thus putting the importance of his project above her and even his own life. Subsequently the accompanying cue even though solemn, is remarkably delicate and beautiful, as once again the main theme materializes. Upon her distraught and intense departure, trumpets cry out of the orchestration incorporating wailing appoggiaturas. Research demonstrated by Professor John Sloboda, a psychologist at the University of Keele, found that the use of appoggiatura’s was a device commonly known to be associated with tears. (Ref 4) This device functions extremely well with the pace and mood of the drama.
Victor realises what he has done and so his intentions become more frantic and serious. The music at this point (track nine) breaks into possibly one of Doyle’s most exciting cues for the film. Both the score and visuals depict Victor’s firm determination to continue with his work. The pacing is most notably increased; defined by the films editing and Victor’s energy, plus the scores use of rapid accompaniment whilst propelling a wonderfully syncopated and rhythmically driven cue. Due to the complex orchestration, it is difficult to pinpoint specific influences, only to draw to the conclusion that Doyle’s originality is at his most creative. Unfortunately for the film music lover, the SFX cover the subtleties in the score even though the music is featured quite heavily. For example, without listening to the soundtrack alone it is almost impossible to distinguish the presence of an organ amongst the mix.
When his creation (Robert De Niro) is complete, he sees that it is dysfunctional and that his work resulted in an abomination. Swells by flutes, strings and trumpets (possibly organ too!) lead up to a swift violin passage, which accompanies a vision of Victor’s monstrous mistake;
"who hangs suspended like Christ on the Cross from the rafters" (Ref 5). He vows to destroy his creation the next morning.
Victor is woken by the creation whilst ‘it’ attempts to escape. Whilst on the rampage in the streets, the film seems to subtly impose that the audience be inclined to show the creation a little sympathy. When Victor discovers his creation has escaped he is drained and falls ill. Henry his colleague cares for his health. Whilst recovering, Elizabeth comes back. A piano solo by her in the next room awakens him. This piano music used as source, is Doyle’s main theme, but once again, unfortunately not included on the soundtrack. This evolves and flourishes into more thematic string material (track twelve) as he apologises for his behavior upon their reunion.
The creation finds Victor’s journal in the coat he took from the attic. Swells by the trumpets, strings and flutes accompany this scene (track thirteen). The first time the audience heard this haunting and glacial sounding device was when it accompanied the creation hanging from the rafters in the attic. It seems that Doyle intended for the audience to associate this theme with the creation’s presence and also with the journal.
Track fourteen, ‘Friendless’, directs the audience to sympathise with the creation’s loneliness. Meanwhile, Victor has moved back to Geneva with Elizabeth to marry. From the journal, the monster begins to discover how he was created. Utterly distraught and furious, he swears his revenge. Subsequently the music cue shifts with the creation’s emotion. From here, the pace of the drama really increases.
The search for Victor’s younger brother (Willi) is accompanied by track fifteen, which exudes worry, anticipation and finally an acknowledgement of his death (killed by the creation). This scene serves as a semi-climax and triggers some of the most intense emotions. Justine is wrongly accused for Willi’s murder and is hung. Doyle’s hit point a minute into track fifteen’s cue is perfectly crafted and dramatically modulates on target when the rope is fully extended, representing the images and enhancing Justine’s neck being broken. The creation then demands Victor to meet him on the Sea of Ice. Underscoring this meeting, the creation spills his soul to his ‘father’.
Track nineteen unfolds the most substantial figure of the main theme so far. Beautifully crafted for strings, this romantic orchestration accompanies Victor’s struggle to keep Elizabeth.
Music accompanying ‘The Honeymoon’ (track twenty) is quick and brooding, as if they know the creation is following, which, of course, ‘it’ is. In the love scene (track twenty one), the audience is finally presented with the beautiful main theme in its entirety. The rich, lavish score, boasts much emotional content. Delicate harmonies and drifting progressions are marvelously orchestrated and certainly supplement the darker cues on the soundtrack. Like many of the other tracks, even if taken out of context, it would be likely to prove a success.
The drama takes its final dark tum. Victor makes a reluctant promise to create a partner for the ‘monster’. The creation has realised that Victor has broken his promise, and that costs him the life of Elizabeth. Using his research skills once again, he brings her back to life with parts of Justine and herself. The music in this scene (track twenty three) begins with an atmospheric approach out of which emerges a dramatic response from both the characters and score. Realising what has happened, with much grief, the new creation (Elizabeth) kills herself.
The final scene takes place on the ship, as seen in the very beginning, as Victor concludes the story. Through exhaustion, he then dies. Shortly after, the creation appears and explains to the ships crew that Victor was his father. The creation then announces that he is done with man and accompanies Victor’s body which is burning on an iceberg which serves as a funeral pyre. Track twenty four underscores this entire section. Doyle’s use of suspensions and dissonance make the doom evident. The two-note motive applied to the trumpets, previously implemented at Justine’s and Willi’s death, are once again exploited and enhance the visuals and intended emotional reaction. This track incorporates a compilation of all the thematic material and main themes to bookend the drama and decently brings things to a close.
Conclusion
From the beginning, it was clear that the film demanded such a score; one that incorporates a large orchestra to enable the "specific orchestral effects in order to match many grand images on screen" (Ref 6). Patrick Doyle’s leitmotif concept works superbly within the construct of the film. With thorough knowledge of the sounds a symphony orchestra is capable of producing, he creates some of the most appropriate cues to accompany the images and drama. The main theme plus all the subsequent thematic development effectively characterise the drama of Victor’s story as well as romanticise the adventures of the ‘creation’. This approach allowed the film form to dictate the score form which in tum also benefited significantly from the blending of source music. Doyle interchanges from source into score, and vice versa, quite subtly making sure that the transfer is not noticeable or distracting to the audience. To attain the intended emotions, Doyle’s score makes full use of ‘psycho physical variables’. Balkwill & Thompson (1999) found in their research that "Listeners relied upon the only resource at their disposal: psycho physical cues" (Ref 7). For example, variables that consisted of divergent tempi, rhythmic complexities, melody, harmonic progressions, timbres and specific tessituras. Doyle carefully crafted these variables to elicit the required mood and pace knowing that an emotional response from the audience was essential in establishing the success of the film. Unfortunately the film was not as successful as some would have liked. Dispersed throughout the film is evidence of Branagh’s creativity and Doyle suitably portrays this. Occasionally, the audience may feel the visuals and score over dramatise the plot, but as a whole, the combined images and score pull through and produce a most entertaining drama, which reflect both the horrors and the beauties of this specific genre.
References
#1: Patrick Doyle’s Notes - Mary Shelley’s Frankenstein Soundtrack. Sleeve notes, September 1994.
#2: Cooke, D. (1959) ‘Melodic line and emotion’, Psychology of Music, Vol. 28. No.2. p.139
#3: Gabriel, C. (1978) ‘An experimental study of Deryck Cooke’s theory of music and meaning’, Psychology of Music, Vol. 6. p.13-20.
#4: Sloboda, John (1996) ‘ABC Radio National — Health Report Transcript’ Music and Emotions. Monday 1st April. (Presenter Robin Hughes). (Web site source listed in bibliography).
#5: Patrick Doyle’s Notes - Mary Shelley’s Frankenstein Soundtrack. Sleeve notes, September 1994.
#6: Patrick Doyle’s Notes - Mary Shelley’s Frankenstein Soundtrack. Sleeve notes, September 1994.
#7: L-L & Thompson, W. F., (1999) ‘A cross-cultural investigation of the perception of emotion in music: Psycho physical and cultural cues’. Music Perception, Vol. 17. No.1. p. 58.
Bibliography
Balkwill, L-L & Thompson, W. F., (1999) ‘A cross-cultural investigation of the perception of emotion in music: Psycho physical and cultural cues’. Music Perception, Vol. 17. No.1. p.43-64.
Cooke, D. (1959) ‘Melodic line and emotion’, Psychology of Music, Vol. 28. No.2. p.139
Gabriel, C. (1978) ‘An experimental study of Deryck Cooke’s theory of music and meaning’, Psychology of Music, Vol. 6. p.l3-20.
Patrick Doyle’s Notes - Mary Shelley’s Frankenstein Soundtrack. Sleeve notes, September 1994.
Website
Sloboda, John (1996) - http://www.abc.net.au/rn/talls/8.30/healthrpt/hstories/hr010401.htm (content expired)
Discography
Mary Shelley’s Frankenstein Patrick Doyle Epic Soundtrax (477987 2)
Video
Mary Shelley’s Frankenstein Kenneth Branagh VHS CC7527
Monday, 22 August 2011
Army Of Doom - Epic Battle Music
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| ARMY OF DOOM - Jon Brooks - DOWNLOAD MP3 |
Army of Doom - Epic and dramatic orchestral battle music. I composed, orchestrated and programmed this music in Logic Pro using high quality multi-samples. This is one of my most popular scores.
Download 'Army of Doom' on iTunes here:
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This music is subject to copyright and is provided for demonstration purposes only. © 2010 Jon Brooks.
Download MP3 here: https://itunes.apple.com/gb/album/army-of-doom-single/id792985174
'Army of Doom' has been used in various feature films including "An American In Hollywood".
Music Composer - Jon Brooks
Music Producer - Jon Brooks
Music Arranger: Jon Brooks
Midi Programmer: Jon Brooks
Orchestrator: Jon Brooks
Cover Art Design: Jon Brooks
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