The stereo sound here is fabulous, the performances definitive, and the liner notes exhaustive. And the score, like the film, is a classic of its genre. But as this splendid release so amply shows, the original still can't be beat. AllMusic relies heavily on JavaScript. Please enable JavaScript in your browser to use the site fully.
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Romantic Evening Sex All Themes. Articles Features Interviews Lists. Streams Videos All Posts. My Profile. Advanced Search. Track Listing - Disc 1. Main Title. Jerry Goldsmith. Hyper Sleep. The Landing. The Terrain. The Craft. The Passage. The Skeleton. A New Face. Hanging On. Digital Sheet Music. Create a playlist. Public Not listed Private. Other english artists. The Planets.
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Do not see this window again for the duration of the session. The Planets - Uranus. The Planets - Uranus Mp3 performed by the U. Air Force Band Add comment. Add you MP3 interpretation on this page! The Planets - Venus. The Planets - Venus Mp3 performed by the U. Air Force Ban Add comment. The Planets - IV jupiter, the bringer of jollity. The Planets - Mars, the bringer of war. Mp3 "Mars" performed by the U.
At times majestic, at times frightening, the movie told the story of space travelers confronted with an alien threat. It spanned a motion picture franchise with a devoted fan base that continues to even today.
Goldsmith was on fire at this time. He had just won an Oscar two years previously for The Omen and was writing one score after another.
In , he did eight scores alone. In the wake of Star Wars , epic scores were a rage again and Goldsmith was able to write the full-bodied scores he was capable of. To some people, Alien has lost its allure. It is slow and the shocks no longer surprise anyone familiar with the other movies. Many just prefer the high-octane thrills of the equally classic sequel Aliens.
Itwas a revolutionary movie at the time, for more than just the frightening life cycle of the title character. This would be the first grungy science fiction movie with dark claustrophobic sets and working class protagonists. Never had a woman been a hero in this type of movie. All due to this movie. Goldsmith split the score into two styles.
The theme for the spacecraft Nostromo and its doomed crew is a romantic trumpet and orchestra theme "Main Title" that is followed by a mysterious two-note echoing motif. It suggests both primal wonder for the great unknown and the nagging fear that follows it. This plays out wonderfully in the next track "Hyper Sleep" where the crew slowly wakes up. As the pedals of the sleeping pods open, the orchestra buildings to a crescendo then followed by the solo trumpet.
It is moment of great film music that Stravinsky would have been proud of. One track later, "The Landing" uses the alternating motifs more aggressively, giving the seeming standard landing of the spacecraft a dangerous undertone.
Once they get to the planet, the other style of the score emerges. It suggests a place long dead and mysterious. The tone intensifies with the following tracks. With high pitched strings that are counter balanced by a flute solo, the tension builds to an unbearable level.
Many of the elements used here had been done separately before, but never together at this level of mastery. Most horror scores tend to work a simple level of "does this make you feel uncomfortable" or "does this scare you".
Goldsmith very well knew that to suggest something "alien" he had to create sounds both unfamiliar and threatening. Goldsmith was always a fan of experimenting with ethnic instruments. Here he would use the Indian conch, along with a didgeridoo, serpent along with odd sounds of struck pianos strings and other random noises, subtle synthesizer stings and echoplexed effects.
First fully introduced in "Here Kitty" the Alien theme gives us a ferocious creature seemingly like a large insect and a reptile at the same time. The horn call sounds the cry of some foreign animal.
We instinctively tense up at these sounds and the driving strings keeps us moving. Countless follow horror soundtracks would use small variations of these effects over the years. But a great score is one that makes every track a winner, and Goldsmith gives us every variation of building suspense there is without a false note.
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