Behind the Score: Atonement
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- Опубліковано 5 лют 2019
- In 2019’s first Behind the Score (S3E7), we dive into Dario Marinelli’s Academy Award and Golden Globe-Winning score for Atonement. We look at the themes, musical approach, and break down the suite featuring tracks like Briony, Robbie’s Note, and Denouement.
Chapter 1 (Introduction): 7:40
Chapter 2 (Elements of the Score): 9:10
Chapter 3 (Theme Gallery): 14:00
Chapter 4 (Suite Breakdown): 15:20
Chapter 5 (Final Thoughts and Overview): 39:05
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Check out the Cinematic Music course on Evenant - a fantastic online platform to explore music composition, virtual orchestration, and more! bit.ly/2BTiOcf
» Season One: bit.ly/2qlrkKk
» Season Two: bit.ly/2BZppSH
» Season Three: bit.ly/2Sl3KMg
Free download pack (cubase session, MIDI file, stems): www.dropbox.com/sh/aw0m4e70csw4d8g/AAA7f_vDcUElLmq_dka2IbbKa?dl=0
I consider the Elegy for Dunkirk as one of the best tracks written for films in the last few decades. Thank you for doing this video Ashton!
Think so too.
Amanzing...thanks for your music.
Very cleaver analysis. Well done and long career to you!
Great stuff, Ashton, as always! It's a delight to watch these. Well done!
Oooh! Another Behind the Score. These are so informative my dude!
This is great stuff Ashton! Way to go, I'll need to check out your other episodes. I can tell you put a lot of work into these. Bravo
It's so cool how you can recreate a score from scratch :o it's so amazing every time I see a Behind the Score video!! You're really talented, keep on striving 😉
Wow, brilliant remake Ashton! I like the OST very much, brilliant composition
Thanks so much for doing this Ashton. For me, this is right up there with your Nimrod video, and I agree with you 100% about the Dunkirk scene. Who knew that a beach in northern France would inspire two of the most emotional pieces of cinematic music ever and thanks for covering them! Glad to see you look so much "back" at home in the studio. Now please reward yourself by go checking out The French Lieutenant's Woman OST. Best wishes
Great video dude! Love the detail you go into. Super insightful stuff!
Thank you for this ! You are incredibly helpful and also kind to share your expertise . Amazo!
That was amazing budy, good explanation and example as a composer and producer I really enjoyed watching it till the end. You'v got a new subsriber. Kepp up the good work
This is excellent. Thank you!!!
One of the best films- and scores for that matter- that was ever made
Great job.congratulations man!
Thank you for this. Sincerely
and he's back
Maybe you should do one on a bad score or one about mediocre action movie score, it's kinda fascinating if you'd do that. Anyway, your earn yourself a subscriber
Watching it right now, very moving score by Dario, and great rescore by you Ashton!
I think you made a little typo in the name in the description, it is "Dario Marianelli".
This is genius! Thank you. :)
Hey man, great rescore as always - and that english horn sounds fine as wine ! is it from Berlin WW exp.B ? thanks man
Ashton, Would you be willing to do an instrument break down of this? You have some excellent vst sounds going on. Particularly Strings and woodwinds.
16:42 - "the pizzicatos come in on the twos"Initially yes, but as you can hear clearly at 17:11, something odd happens - if the cue remains in 4/4 (or possibly more likely, 12/8), then they come in on the first beat of bar 17. My feeling is that he puts in a short bar (or maybe an elongated bar) so that the basses continue to be beat two.An alternative way of looking at it is that the piece is actually in a fast one-in-a-bar 3/8, with what you describe as quarter notes actually being a whole bar.You may think that this is nit-picking, but it is actually a really good example of how he tailors the music to the visuals, adding in extra beats / removing beats as required so that he matches the important things on screen, but in a subtle, almost imperceptible way. Similarly, this is underscore, so whenever there is dialogue, the music dies down and the piano drops out, with the triplets in the strings keep up the sense of urgency, but at a level that means it doesn't need to be ducked too much in order for the dialogue to be heard.
Excellent job!! So beautiful! How would you feel about perhaps doing a behind the score with Alexandre Desplat's Zero Dark Thirty?
possibly, all I can say is there’s plenty of Desplat to come here on this channel.. !
Hey Ashton, Great work as always, I just need to know what kind of sound driver you're using.
You can run all this software with your built in soundcard and asio4all (free driver). An audio interface would perform better but if youre on a budget, RAM is much more important.
Hi, could you do a little session on the dissection of the sounds and effects used on da trailer of "Roma" directed by Alphonso Cuaron??
Jean-Yves Tibaudet pronounces his name like this: forvo.com/word/jean-yves_thibaudet/
Also, it's BRIony with the accent on the first syllable and a vowel sound of "eye", rather than breeOOHny
Hi ! Great work !!
What is the piano library you're using in this case ?
What do you think about keyscape from spectrasonics ?
I want to know it too. Its track is named Steinway Piano. But from which library?!
I'm guessing Synthogy Ivory II Grand Pianos - they are incredible
@@kyleogren24 thanks!
Where can you get the full orchestral score for the Atonement?
Which Cubase version is?
Could you do a video an Abel Korzeniowski?
Would you be willing to post your piano solo arrangements for the themes / main parts? They’re great!
you can download the project file, link is attached in the pinned comment!
@@AshtonGleckman Thanks! I meant the solo arrangements you play starting at 14:05 in the video?
BRY-ah-knee
Please make a video from start to finish ;)
hello ashton,any chance of a transcribe to dr strange ,great theme