Sentences with phrase «on orchestral»

On orchestral tracks, like the opening scene in John Adams» The Gospel According to the Other Mary, the lower register instrumentation gets a slight push forward in the mix, but the higher register brass, strings, and vocals own the spotlight.

On orchestral tracks, like the opening scene in John Adams» The Gospel According to the Other Mary, the Be shines.

On orchestral tracks, like the opening scene from John Adams» The Gospel According to the Other Mary, the lower register instrumentation sounds vibrant and full, but still plays a supporting role to the bright presence of the higher register brass, strings, and vocals.

On orchestral tracks, like the opening scene in John Adams» The Gospel According to the Other Mary, the lower register instrumentation receives a very slightly boosted presence in the mix, but the higher register brass, strings, and vocals are still bright and crisp and draw most of the attention.

On orchestral tracks, like the opening scene in John Adams» The Gospel According to the Other Mary, the lower register instrumentation gets ideal representation.

On orchestral tracks, like the opening scene in John Adams» The Gospel According to the Other Mary, the lower register instrumentation gets some added presence — not to the point that things sound unnatural, but the lows do have a more vibrant presence than they would in a flat response scenario.

On orchestral tracks, like the opening scene in John Adams» The Gospel According to the Other Mary, the lower register instrumentation is given some added push in the deepest lows, but nothing that seems over the top.

On orchestral tracks, like the opening scene from John Adams» The Gospel According to the Other Mary, the balance is ideal.

On orchestral tracks, like the opening scene in John Adams» The Gospel According to the Other Mary, the higher register strings, brass, and vocals retain their higher frequency edge and own the spotlight, but the bass response nicely complements them, bringing certain aspects of the lower register instrumentation a bit more to the forefront.

I'd love to see more of this kind of thing; Video Games Live has the rock angle covered and Square - Enix seems to have cornered the market on the orchestral front, so whenever a symphony performs something iconic like Zelda, I take definite notice.

I'm also working on an orchestral remix of the «Calm 3» music from Minecraft.

With regards to musical style, I want the music remain true to its origins and retain its alien spirit, but taking on an orchestral / electronic hybrid approach could be a suitable enhancement over the original trilogy.

My online friend John La Grou has a post on orchestral leadership that is related to this one: http://microclesia.com thanks John.

Not exact matches

The audience sees the maestro silhouetted on his podium, summoning forth music from his orchestral forces.

The orchestral soundscape pairs perfectly with her stark raw vocals and is one of the reasons Fleurie has landed a spot on our list.

But there is an orchestral beauty to putting on a football game.

From the fourth grade on, every student takes up a stringed instrument and thus, has an orchestral experience.

On a chilly Saturday evening in March, unfazed by more than 6 inches of new snow, hundreds of people crowded into Shriver Hall at Johns Hopkins University in Baltimore to hear the East Coast premiere of «Cosmic Dust,» an orchestral piece set to images of deep space.

Are there just really awkward pauses during rose ceremonies between guys, or do they have dramatic orchestral music playing on a side speaker to set the mood?

Apart from the soft pad of her feet on the carpet, the scene is nearly silent, with no orchestral sting underlining the looming threat, and when she turns around, he's vanished, but the movie has succeeded in making us afraid of empty spaces and the human monsters that might at any moment step into them.

How about a movie whose visuals, architectural and costume design, and orchestral score draw heavily on cultural influences seldom seen on Western screens?

As if to underline his status as one of indie rock's great eccentrics, Malkmus makes a decent fist of orchestral pop on the frisky, staccato - like Brethren, and severs all ties with conventional songwriting, revealing an aptitude for space rock (Difficulties / Let Them Eat Vowels).

Add in an epic, bombastic orchestral score by Kevin Riepl (he also worked on Gears of War) and a surprisingly robust and easy - to - use level creation tool and you have one of the better games to be released so far in 2011.

A number of mainstream film critics have hailed his work on the new film — virtually unheard - of for a traditional, orchestral, «proper» film score in the 21st century.

The sound here is breathtaking; using electronics sparsely and more relying on melody, subtlety in song writing and a magnificent orchestral

Ballads of Hyrule (out now digitally) is a collection of orchestral arrangements from the Legend of Zelda series, envisioned in the artist's own words as a «relaxing environment for your ears, while it takes you on a night walk across the lands of Hyrule».

Based on Yousef's 2010 memoir Son Of Hamas, Nadav Schirman's film — an audience prizewinner at Sundance in January — briskly runs down a decade - plus of double - dealing on the front lines of the Israeli - Palestinian conflict, offsetting the interview footage with archival news reports, a crashing orchestral score by Max Richter, and staged aerial surveillance shots, tinted night - vision green for maximum atmosphere.

With its sheer artistry, muscular idealism, and the passionate intensity of the acting — along with Leonard Bernstein's bright, clamorous orchestral score — Elia Kazan's On the Waterfront is a true classic.

Goodall and Morgen appeared on - stage at a lovely screening Oct. 9 at the Hollywood Bowl with live orchestral accompaniment by Philip Glass.

The majority of the film is backed by orchestral tunes, but each with their own variation, some tending towards blues and jazz while others rely heavily on a rather sweet clarinet and piano combination.

On the other hand, the audio is fantastic with gratifying sound effects and a diverse soundtrack that consists of a lot of catchy tunes and appropriate dramatic orchestral pieces that suit the hectic action.

3 Paolo Sorrentino is a fascinating film - maker, and in Youth he tells the story of a revered and retired orchestral conductor who is on holiday in the Alps when he receives an official request from the Queen to perform for Prince Philip's birthday.

It shows a bit of trivia on what went into creating the games orchestral soundtrack as well as inspirations the games took from other games from other series because of the developers they had in common.

Working with lyricists Benj Pasek and Justin Paul, Hurwitz comes up with a truly wondrous tune in «City of Stars,» using it to form a beautifully thematic basis for the surprising amount of underscore here, his excellent, spot - on retro arrangements going from the simplest guitar and piano to swooning, planetarium - elevated orchestral melody.

(Note: original orchestral score extracts are also available on several compilation CDs.)

With a haunting theme that's often accompanied by female voice, Del Mar's flowing orchestral melody captures a lyricism that's worthy of Debussy's «La Mer» in communicating the literally transformative effect of nature on man, his lovely themes for aching violin capturing despair and acceptance, playful pizzicatos embodying a renewed sense of hope (as well as endearingly comic crabs) and exotic percussion hearing the mystery of an island and its outlying sea.

Having helped create an all - singing serial killer tuner for «London Road,» Adam Cork uses his instrumental voice to capture the despair and ebullience of North Carolina author Thomas Wolfe for «Genius,» (Milan Records) his Americana - accented score capturing the unique, orchestral spark of literary inspiration along with the jazz bounce of a copious writer's enthusiasm on the loose in The Big City.

The first trailer has a really weird vibe — the celebrity voices don't match up at all with the furry on - screen characters — and the orchestral rendition of «The Bare Necessities» on the soundtrack is quite off - putting.

The composer builds to an extent on the sound he established during one of his international breakthrough scores (2005's Syriana) but he takes it off in different directions for a score which will probably be an easier listen for most people than that one thanks to the increased orchestral element and the couple of notable concessions to mainstream Hollywood - style Americana.

It is literally my favorite track on the album that is not a orchestral piece.

It's become something of an axiom of modern film music that music for any kind of serious film set in the modern day will not have a traditional orchestral score - were Oliver Stone to make Born on the Fourth of July today, I seriously doubt he would have John Williams score it - and so he turned to Craig Armstrong, still primarily known for his instrumental pop music and song arranging for popular singers.

The Academy of Ancient Music, with its director Richar Egarr at the harpsichord, brings Bach to Carnegie Hall in a concert featuring the composer's four Orchestral Suites on Nov. 7.

Audio seems to be faithfully represented on a monaural LPCM track that adequately conveys the orchestral dynamics of Tim Souster's (surprisingly compelling) score and maintains enough fidelity to the original recording that you can hear the sound edits between lines of dialogue.

However, it's rather undermined by an overly sentimental, on - the - nose score from Polish composer Zbigniew Preisner, whose orchestral stirrings never quite match what we're seeing on screen.

He relies mainly on the loudness of trombones, timpani and heavy orchestral sounds to dramatise the momentary action, reflecting brief sections of mediocrity also evidenced through the film's protracted narrative tale.

One should also mention the orchestral smear heard on the soundtrack: a nauseating lurch of Psycho-esque strings provided by Under the Skin's Mica Levi, who expresses the movie's theme of sudden change better than anyone.

The supplemental section includes Richard Dyer on Nino Rota and Orchestra Rehearsal, a 21 - minute interview speaking about the film's composer and his last collaboration with Fellini; Orchestrating Discord, a 23 - minute visual essay on the film by Fellini biographer John Baxter; 30 images from the «Felliniana Collection», including rare posters and press materials for the film; a 24 - page insert booklet featuring the film essays «In a Nutshell» by Adrian Martin and «Orchestral Rehearsal: In the Picture» by Tony Mitchell, as well as restoration details.

For Revenge, which is very music driven, iZLER uses a live orchestra that he conducts for each episode, whilst most of the non orchestral instruments heard on the show are played by iZLER himself.

-- Movie Poster — Orchestral Sheet Music from recording session at Abbey Road Studios signed by Alexandre Desplat — Soundtrack on CD — 2nd CD with additional score

This is a cinematically holistic work of diversity, in which cultural identity has been carefully woven into every element of the movie: a cast almost exclusively made up of people of color; a costume design based on traditional African jewelry and garments; a soundtrack that, at its best, puts a damper on the usual orchestral bombast and allows chanting or drumming to dominate.