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James Peterson -《红帆布》(The Red Canvas)[FLAC]

  • 状态: 精华资源
  • 摘要:
    发行时间2009年11月10日
  • 时间: 2010/01/01 14:37:53 发布 | 2010/01/02 07:55:15 更新
  • 分类: 音乐  原声音乐 

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专辑中文名红帆布
专辑英文名The Red Canvas
艺术家James Peterson
资源格式FLAC
发行时间2009年11月10日
地区美国
语言英语
简介

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专辑介绍:

愿意为值得的事情而死,这样的人才会赢得尊重!男人都想被人尊重,但很少有人能找到他们自己的战场,对于 Johnny Sanchez而言,他的战场就是拳台。你会为何而战?

引用
Hi David,

1. Compositional Process. Let me begin by saying that I didn't really ever get locked picture. It was constantly changing. My original request was to have 10 weeks to write this score given its magnitude. When all was said and done it was completed in a little over 3 weeks of very hard work. The film makers are to this day making changes to the film which will result in unknown changes to the music again. I have told them that I want to make sure the score is in good shape and revise if necessary for its theatrical release. I am happy with the Movie Score Media released version of the score. I am not sure it will be the same in the final version of the movie if and when it is released.

I use two programs. Sibelius and Logic. I use both just about equally. My initial ideas are carved out on a piano or on the sequencer just to get a feel for what the music is going to be. I always keep the score page open in Logic as I am working because it makes me feel more comfortable. My preferred place for the real writing process is Sibelius. Mockups are done in Logic with the usual sample library suspects. (I use Euphonix controllers which really speed up workflow). I am most comfortable on the score page and so that's where I live. I wish there were Eucon controls for Sibelius. I am going to write Euphonix about it.

I studied music education at UCLA and in addition to my composing career I am currently on the music faculty at Santa Monica College where I teach music appreciation. While in school I arranged for the bands and wind ensembles. I am a trumpet player and studied composition privately and independently throughout the years. I credit UCLA music theory program for my grounding in harmony and counterpoint. I had some great teachers there including David Raksin.

I also listen A LOT. I like music from the greats: Bach, Bartok, Barber, Copland, Harris, Hindemith, Stravinsky as well as the "real" film composers who can actually write and are properly trained not illiterate rock musicians who hum their scores to trained orchestrators. I think it is probably obvious who I mean by this and the devastating impact they have had on film music's greatness. We are in a sad sad time for film music. And people are starting to realize it. Thank God. All of us can work to make the change we want to see in the world (thanks to Gandhi for that one)

2. Both of the directors are musicians and were open to the big orchestral sound. The Miklos Rozsa references in the score were a kind of musical "joke"for me and a generous loving homage to one of my favorite composers. The film is about fighters (like gladiators of sorts) and that motive plays their entrance to the stadium to brawl. I thought wouldn't it be cool to tip my hat to Ben Hur because I knew there would be people out there who would get it. : )

3. I am American born in Los Angeles, educated at UCLA and live and work in Santa Monica



专辑曲目

1. Out of the Darkness (01:56)
2. Awaiting the News (02:22)
3. Death and Resurrection I (03:41)
4. A Great Fighter (02:01)
5. Jazz Caf� (01:43)
6. Johnny Likes Extortion (00:27)
7. The Attic (01:30)
8. Grease Monkey Prelude (01:44)
9. Grease Monkey Brawl (03:01)
10. Maria Cries (01:37)
11. Calling All Gladiators (01:08)
12. The Meeting (01:32)
13. Death and Resurrection II (03:28)
14. Bills and Tears (01:27)
15. Jungle Rumble (01:36)
16. Prayer (01:09)
17. A Not-So-Conjugal Visit (02:50)
18. Ballet for Brawlers (11:29)
Moving Images Suite (bonus)
19. Moving Images Fanfare (00:31)
20. The Sorcerer (01:56)
21. Americana (03:35)
22. A Quirky Machine (02:46)
23. Moonlit Desert Chase (02:32)
24. Pastorale (04:35)
25. Transylvania: 1955 (02:56)
26. Epilogue (01:54)

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