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I was kinda disappointed that I didn’t get to finish my own arrangement of the first Spider-Man for my community/college orchestra this summer, so…
I’m working on a 12-minute long suite from the second movie. I’m planning for it to be performed for the summer pops concert of 2007, giving me plenty of time to work on it.
Here is a rough mix that I made from the actual soundtrack:
For slower connections
For faster connections{Edit} Now posted at a better quality (see “For faster connections”).
The quality of the sound was fine, but for some reason the quality of the suite itself wasn’t. It seemed to glued together, sort of like Marc Shaiman’s score suite from the South Park movie (yes, I know its a rough mix). I’ve been listening to the score non-stop lately. There are some moments in the score that just seem to fit into part on another completely different track. I don’t know anything about arranging or about music theory. I don’t know the technical terms but I do know that I love this score and if you could arrange it in a way that feels organic and flourishing, instead of the full tracks being stuck together, it would be great. Kind of like improving on the Spidey and Doc Ock suites from the “inspired by” soundtrack. Honestly, I like the way “Hes Back!” led into “Main Titles” but simply putting the entirety of the title track in the suite seemed a bit stiff.
I think that Main Titles up until :53 sounds good quickly led into Train/Appreciation at exactly 1:06, then let it run until 1:46 and take it into “The Bank/Saving May” from :10. I can’t think of anything else right now. I’ll comment back.
Thank you, I appreciate your comment. Again it is a rough mix, and there is no way to have each section transition exactly the way I want to until it’s actually written out. I can’t really help that in the mix, but I know what you mean, and they will (hopefully) be better.
I should mention that Spider-Man 2 is my favorite Elfman score of all time (so far
) and each of those sections are my favorite, and, I feel, most important, moments in the score (that are actually possible to perform live). The last thing I want to do is to butcher it with a bad arrangement. I’ve heard many arrangements of movie music for orchestras and I can tell you that many of them are simply not very good. I want to make quality arrangements so as not to totally offend a listener who is very familiar with the score.Again, I do want comments and do appreciate them, but this is most likely the version that I will stick with.
Great work, D-Bo! I really liked your Planet of the Apes suite too.
I do have a suggestion. If you want to make this suite about the best moments of the S-M 2 score, you should consider adding something from “MJ’s New Life/Spidus Interruptus” which has the grandest rendition of the Spider-Man theme and something from the bank cue too.
Keep up the great work!
Now posted at a better quality. See first post and “For faster connections”.
By the way, anyone have any idea how I might replicate/subsitute the synth at the beginning (starting at about 0:18)?
Thank you for your comments, and the suggestions. You know, after a couple people here saying something about it being a “best moments” arrangement, I’m actually not sure that’s really what it is. I guess the reason I have the “Appreciation” and “Armageddon” is because I wanted to show people another side of Spider-Man. I don’t know this for a fact, but for some reason I have this assumption that the average casual audience for an orchestral performance may think of movie scores like Spider-Man 2 to be mostly “actiony” (if there is such a word). So another objective of mine here is not to impress the audience solely with loud and exciting, but make them feel the sad moments in the score, also. Does that make sense?
I don’t think I’ll add any more to it, because I think it’s fairly long already, but I really do appreciate your suggestions.
I like the way you re-edited “Armageddon” and the way the end of the Doc Ock theme just softly led into “At Long Last, Love”. Very good, D-Bo. I applaud you!!!
to replicate the synth sound perhaps a gliss. with mid tone string instruments? viola, cello perhaps?
dnt know if thats of any help at all but i thought id post it
ta ta
Kane
Hmm, I’m not totally sure how that may work. If we’re on the same page, as it were, it shouldn’t be a gliss, but rather one recurring note. I do think lower strings might make a good choice for that, but the problem lies in when the cellos (and along with possibly the basses or violas) come in later “for real”. Please clarify your suggestion, Kane0rz.
Some things I thought of was to use a timpani(s), but muting it somehow to cut down on the resonance, making the sound shorter. Another, and I think a rather “cool” effect, would be to use a prepared piano. Anyone’s opinion on these, or other suggestions?
Low piano strings, plucked hard with one hand and then beaten with a hard timpani stick, raising and lowering sustain pedal. It will give you that resonating sound.
perhaps im thinking of a different section, are you refering to the drone like synthesised sound approx 18-20 secs into the main titles?
im abit confused (doesnt take much lol)
ta ta
Kane
You’re welcome.
I’m sorry, Nin. Here, you deserve something special…*ahem*
Thy most honorable Nin of Cherries, I express the sincerest gratitude for extending a most helpful hand towards ye in need. I bow before thy greatness.
Ok. You can get up now.
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