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I imagine it changes from one composer to another, but as far as I know : the composer writes his score on synths, and chooses the instruments used, or at least the families of instruments. The job of the orchestrator is to make it work with real instruments ; for example, if the composer has writter a melody for the strings, the orchestrator will have to determine precisely how the strings group is constituted : how many violins, how many cellos…? He also gives advices concerning the precise instrument to use : there are really quite a lot of different kinds of harps, for example, and I guess the orchestrator helps to choose the better one for the mood wanted by the composer.
Here, I’m not so sure of what I say but I think the orchestrator is also a bit of an arranger : if he sees that things that worked on synths won’t work for an orchestra, I guess he can be the one (with the validation of the composer, of course) to change slightly the writing, in order to adapt it to real conditions.
If I missed something important, I hope someone will correct me !The first scores that come in my mind in that kind of mood from Elfman are “Big Fish”, “Will Hunting” and “Charlotte’s Web”. I consider this last one as a very underrated score, it’s always a great pleasure to listen…
ddddeeee : yes, with “Dolores Claiborne”. I know this one has an album, but so many good pieces are left behind…
I have a bootleg of this one, it appears sometimes on e-bay (hope it’s not a problem to give the name of the website ?). Most of the time, it’s quite expensive, especially for something totally unofficial…
I just listened to it on Spotify.
It’s just…Don’t know what to say.I LOVE Elfman, I have loved his music for many years now, but here…I’m so impressed. It’s very complicated, subtle…I’ll need a few more listens to make a better “analyse” of this, but I truly, truly love it.
(in Rag, some passage reminds me very much of a theme in Big Fish)
I must admit that is quite scandalous…
I hope you’ll manage to get your money back. And, maybe, to see the show (WITH Elfman !) some other dayI’m disappointed by this…But there are still quite a lot of projects coming, I guess. Still, I have the feeling that news about Elfman are becoming less and less frequent, lately.
It’s a worrying situation, yes…France even asked Europe the authorization not to respect some articles of the Universal Declaration of Human Rights, in order to fight the terrorism…I hope it will get better, someday. Sad to see that we can’t manage any real peace.
I hope you’ll be able to see the concert after all. Music and art are among the best things to evade such a situation, if only for some hours.It could be a good idea. A lot of unreleased stuff from them, also, from what I know. And I think at least part of it exists in good enough audio quality to be proposed as a bonus on a possible re-release.
That was unexpected ! And really great, even if it is hard to find it in good sound quality (the link you posted is dead)
He didn’t say anything about the movie itself, but I remember him being unhappy with his scoring experience, and the use of his score, in “Anywhere but Here”…
I guess you’re right, Boingomusic, but because of the excitment of seing it for the first time I forgave most of the mistakes. Except for Corpse Bride’s piano solo…
Curious too that they didn’t play the Big Eyes suite, I thought it had been added to the show ?We didn’t find each other… too bad.
The show was wonderful. I knew all these musics, but it’s really moving to hear them live, it’s like discovering them again. Plus, for “Pee Wee” and “Beetlejuice”, the suites add complexity to the original music, I really had the feeling to hear today’s more experienced Elfman rewriting his works of youth…
And, of course, Nightmare Before Christmas was a very big pleasure. Elfman has a great energy on the stage, he really seemed at ease and happy to sing…Ok. My seat is 2C1, I ll try to find you then. I wear blue jeans and a brown jacket, and I have quite big glasses…
Edit
I didn t see you at the indicated seat but maybe I was looking at the wrong place ?i ll be waiting next to door 2 after the show. Hoping you ll see this message.From what was indicated when I did my order, for me it will not arrive until the middle of November…
But I’l be in Paris too, tomorrow evening !
ddddeeee Wrote:
> http://filmmusicreporter.com/2015/09/17/goosebumps
> -soundtrack-details/
>
> Odd.The 12 bonus tracks, you mean ? My guess is that they will only be available on one of the two supports, physical or digital…I hope it will be the physical one.
The company filed bankruptcy, apparently nothing is sure anymore about a release of the movie. Even less one of its soundtrack, I guess.
Between this and “Tulip Fever”, that still doesn’t have a release date…Elfman is quite unlucky with some of his projects.I received mine today. Very nice little score, hovering in a way…I loved my first listening. And the songs are nice too, they don t break the experience.
It seems nice, quite predictable intimate Elfman material as he does rather often lately, but I love it so no problem with this…
(It’s not the same topic, but does any of you have informations about Tulip Fever, and a possible release of the score ?)
