19 replies to this topic

[mattjoes]

So, gkgyver's efforts inspired me to try my hand at recreating Bond music, and I gave A View to a Kill a go. Here's three short cues, made in Finale and recorded with its standard sound bank. I hope you enjoy them:

 

https://soundcloud.c...-view-to-a-kill

 

Now, I know the standard Finale sounds are no match for a full priced virtual orchestra, but I have found that really isn't that important. The music is good, that's what counts.

 

To a basic degree, I have completed some eight more cues, but I'd like to go over them once again before uploading them (if there's any interest), because I'm sure the instrumentation is a bit lacking, and my ear has improved since I first worked on them.

 

Please keep in mind this is an amateur at work. Anybody who wants to jump in with suggestions and corrections is welcome. I'll reupload the files as many times as necessary.

[5thstreet]

There's potential here, with some orchestra would sound great.

[thecasinoroyale]

They are brilliant mattjoes - especially 'Arrival At Zorins Chateau', it's perfect! And the gunbarrel is fantastic, with the perfect arrangement and even the brassy fanfare at the end.

 

I love the 'AVTAK' score and film equally, so would love to hear more of your arrangements.

 

[Satorious]

You have a great ear - wish I did! Some brilliant re-orchestration here - well done!

[Shaun Forever]

Excellent stuff!

[Bond... Raybond]

I agree there is alot of potential here. Unfortunately it does sound very synthy (quite understandable though). The Arrival at Zorin's chateau is very good.

 

I wish someone would be able to re-create my favourite track from the film. It is the sequence when Bond is holding onto the rope as the Zeppelin makes its way to the Gold Gate Bridge - I love that (kettle?) drum roll as Bond is hanging in the clouds.

 

We haven't heard much from GK lately. I wonder if he is working on another Bond-related project?

[mattjoes]

Thank you all for the positive feedback!

 

Regarding the synth quality, I will gladly hand over my mus files (or any other format supported by Finale) to anybody who can recreate them in better quality.

 

thecasinoroyale, I too love both film and score - Christopher Walken is Javier Bardem's spiritual predecessor.

 

Bond... Raybond, I guess you're in luck, because I just uploaded that cue. You can listen to it and download it from the link in the first post. I think it turned out pretty well.

 

The last I remember from gkgyver is that he was going to work on the Octopussy score (which is why I'm not touching it). gkgyver, if you are reading this, we could use your high quality synths!

[marktmurphy]

I wish someone would be able to re-create my favourite track from the film. It is the sequence when Bond is holding onto the rope as the Zeppelin makes its way to the Gold Gate Bridge - I love that (kettle?) drum roll as Bond is hanging in the clouds.

 

We haven't heard much from GK lately. I wonder if he is working on another Bond-related project?

 

 

That's my favourite too; but surely that's the one Matt has linked to here called 'hanging by a thread'? Seems spot on to me; some better samples would be nicer obviously, but great job otherwise!

 

Now how about the horse chase!

[Satorious]

I could have a try at this if you are game MattJoes?

 

And yes - the horse-chase is a definite un-released favourite of mine (plus the cue just before mainstrike mine gets flooded and Christopher Walken goes totally nuts).

[Bond... Raybond]

Bond... Raybond, I guess you're in luck, because I just uploaded that cue. You can listen to it and download it from the link in the first post. I think it turned out pretty well.

 

Thanks mattjoes, I just listened to it and you've done a grand job with it. Many thanks for your efforts.

[Leo R.]

Nice one, Matjoes!

 

I'd love to hear this orchestrated. The arrangements are already quite close to the original.

 

Curious to hear more of this. After all, there's some 20 minutes of unreleased music in the movie...

 

Interestingly, Rich Douglas rerecorded two cues a few years ago. Here's for a comparison:

[The Shark]

Great job, Matt. If you ever feel like doing the horse chase cue, the "shock" chord is C7#5#9 (C-E-G#-Bb-D#). It's a type of altered dominant 7th, used a lot in jazz.

[mattjoes]

I could have a try at this if you are game MattJoes?

Yes, please do. I'll be contacting you by PM in a few days. Thanks!

 

Curious to hear more of this. After all, there's some 20 minutes of unreleased music in the movie...

In 25 cues, by my count, and if nothing gets in my way I'll finish them all.

 

Great job, Matt. If you ever feel like doing the horse chase cue, the "shock" chord is C7#5#9 (C-E-G#-Bb-D#). It's a type of altered dominant 7th, used a lot in jazz.

Thanks for that tip. I'm hearing all those tones except G# (I think it's G natural).

 

I'll have three more cues finished shortly, among them the horse chase.

[mattjoes]

Real life obligations have reduced the time I can dedicate to this, but to keep the uploads flowing I've just added the horse chase. As usual, you'll find it in the link on the first post. The other cues are coming soon.

[The Shark]

Great job, Matt. If you ever feel like doing the horse chase cue, the "shock" chord is C7#5#9 (C-E-G#-Bb-D#). It's a type of altered dominant 7th, used a lot in jazz.

 

Thanks for that tip. I'm hearing all those tones except G# (I think it's G natural).

 

I thought that at first too, since 7#9 is more common (i.e. the famous "Hendrix Chord" heard in Purple Haze), but it was lacking the spacey, augmented sound you get in the cue. I later realised that came from the C-E-G#.

[mattjoes]

 

Great job, Matt. If you ever feel like doing the horse chase cue, the "shock" chord is C7#5#9 (C-E-G#-Bb-D#). It's a type of altered dominant 7th, used a lot in jazz.

 

Thanks for that tip. I'm hearing all those tones except G# (I think it's G natural).

 

I thought that at first too, since 7#9 is more common (i.e. the famous "Hendrix Chord" heard in Purple Haze), but it was lacking the spacey, augmented sound you get in the cue. I later realised that came from the C-E-G#.

This is very interesting. Could it be possible that both tones are heard? Here's a sample from the rear right channel of the special edition DVD. Right before the two-note phrase is repeated, I can hear a high G natural played by strings and clarinet. https://soundcloud.c...rse-chase-intro

[The Shark]

 

 

Great job, Matt. If you ever feel like doing the horse chase cue, the "shock" chord is C7#5#9 (C-E-G#-Bb-D#). It's a type of altered dominant 7th, used a lot in jazz.

 

Thanks for that tip. I'm hearing all those tones except G# (I think it's G natural).

 

I thought that at first too, since 7#9 is more common (i.e. the famous "Hendrix Chord" heard in Purple Haze), but it was lacking the spacey, augmented sound you get in the cue. I later realised that came from the C-E-G#.

This is very interesting. Could it be possible that both tones are heard? Here's a sample from the rear right channel of the special edition DVD. Right before the two-note phrase is repeated, I can hear a high G natural played by strings and clarinet. https://soundcloud.c...rse-chase-intro

 

Are you sure you're not hearing the 3rd harmonic (octave and a fifth) from one of the lower Cs? The ear can trick us like that. The highest note I can hear is the prominent D# played by clarinet, flute and first violins. No G naturals, though I could always be wrong.

[mattjoes]

 

 

 

Great job, Matt. If you ever feel like doing the horse chase cue, the "shock" chord is C7#5#9 (C-E-G#-Bb-D#). It's a type of altered dominant 7th, used a lot in jazz.

 

Thanks for that tip. I'm hearing all those tones except G# (I think it's G natural).

 

I thought that at first too, since 7#9 is more common (i.e. the famous "Hendrix Chord" heard in Purple Haze), but it was lacking the spacey, augmented sound you get in the cue. I later realised that came from the C-E-G#.

This is very interesting. Could it be possible that both tones are heard? Here's a sample from the rear right channel of the special edition DVD. Right before the two-note phrase is repeated, I can hear a high G natural played by strings and clarinet. https://soundcloud.c...rse-chase-intro

 

Are you sure you're not hearing the 3rd harmonic (octave and a fifth) from one of the lower Cs? The ear can trick us like that. The highest note I can hear is the prominent D# played by clarinet, flute and first violins. No G naturals, though I could always be wrong.

Right now, I'm not sure of anything! I need a little clarification. Are you saying that what I'm hearing isn't there, or that what I'm hearing is a component of another tone played by violins (C, in this case)? I'm still convinced I'm hearing a G natural, but if it isn't there, I might just as well quit doing this right now! You're the expert and I'm the amateur, by the way, so I value your input.

[The Shark]

 

 

 

 

Great job, Matt. If you ever feel like doing the horse chase cue, the "shock" chord is C7#5#9 (C-E-G#-Bb-D#). It's a type of altered dominant 7th, used a lot in jazz.

 

Thanks for that tip. I'm hearing all those tones except G# (I think it's G natural).

 

I thought that at first too, since 7#9 is more common (i.e. the famous "Hendrix Chord" heard in Purple Haze), but it was lacking the spacey, augmented sound you get in the cue. I later realised that came from the C-E-G#.

This is very interesting. Could it be possible that both tones are heard? Here's a sample from the rear right channel of the special edition DVD. Right before the two-note phrase is repeated, I can hear a high G natural played by strings and clarinet. https://soundcloud.c...rse-chase-intro

 

Are you sure you're not hearing the 3rd harmonic (octave and a fifth) from one of the lower Cs? The ear can trick us like that. The highest note I can hear is the prominent D# played by clarinet, flute and first violins. No G naturals, though I could always be wrong.

Right now, I'm not sure of anything! I need a little clarification. Are you saying that what I'm hearing isn't there, or that what I'm hearing is a component of another tone played by violins (C, in this case)? I'm still convinced I'm hearing a G natural, but if it isn't there, I might just as well quit doing this right now! You're the expert and I'm the amateur, by the way, so I value your input.

 

Don't give up! If you want, you can send me your MIDI of this cue, and I'll have try a crack and re-orchestrating and re-voicing the chord.

 

Seriously, this isn't easy. It's one of the most difficult Barry chords to reverse engineer, mainly because it's ambiguous and somewhat resembles a harmonic series on C (except without the tiny mictrotones you get the higher up you go). It reminds me of some of the tonalities explored by early 20th century composers, like Stravinsky, Ravel, Scriabin and so on. It's also fairly atypical for Barry.

 

BTW, the lowest (middle) C sounds like cellos to me.

[mattjoes]

 

 

 

 

 

Great job, Matt. If you ever feel like doing the horse chase cue, the "shock" chord is C7#5#9 (C-E-G#-Bb-D#). It's a type of altered dominant 7th, used a lot in jazz.

 

Thanks for that tip. I'm hearing all those tones except G# (I think it's G natural).

 

I thought that at first too, since 7#9 is more common (i.e. the famous "Hendrix Chord" heard in Purple Haze), but it was lacking the spacey, augmented sound you get in the cue. I later realised that came from the C-E-G#.

This is very interesting. Could it be possible that both tones are heard? Here's a sample from the rear right channel of the special edition DVD. Right before the two-note phrase is repeated, I can hear a high G natural played by strings and clarinet. https://soundcloud.c...rse-chase-intro

 

Are you sure you're not hearing the 3rd harmonic (octave and a fifth) from one of the lower Cs? The ear can trick us like that. The highest note I can hear is the prominent D# played by clarinet, flute and first violins. No G naturals, though I could always be wrong.

Right now, I'm not sure of anything! I need a little clarification. Are you saying that what I'm hearing isn't there, or that what I'm hearing is a component of another tone played by violins (C, in this case)? I'm still convinced I'm hearing a G natural, but if it isn't there, I might just as well quit doing this right now! You're the expert and I'm the amateur, by the way, so I value your input.

 

Don't give up! If you want, you can send me your MIDI of this cue, and I'll have try a crack and re-orchestrating and re-voicing the chord.

 

Seriously, this isn't easy. It's one of the most difficult Barry chords to reverse engineer, mainly because it's ambiguous and somewhat resembles a harmonic series on C (except without the tiny mictrotones you get the higher up you go). It reminds me of some of the tonalities explored by early 20th century composers, like Stravinsky, Ravel, Scriabin and so on. It's also fairly atypical for Barry.

 

BTW, the lowest (middle) C sounds like cellos to me.

Thanks, I appreciate that. Check your PMs.