Intermediate
Pirates Of The Caribbean
1:19
4 sheet'e göz atın
Sırala:
Şarkı kütüphanesi
Zen Virtual Piano'da Hans Zimmer tarafından hazırlanan piyano sheet'lerini keşfedin. Hans Zimmer says his career did not begin in Germany: “I could never get a job there since I hadn’t gone to music school, and they wanted to see references from an Akademie.” He was playing in bands in England, in colleges and workingmen’s clubs among other places. A path that began outside the Akademie, in rooms where bands played, suggests that much of his training came from playing. His love of music grew out of a childhood in West Germany, where, while other kids liked to play games, he liked to play the piano. He says he knows his Beethoven and his Brahms inside out, having learned about them from his mother, a classically trained pianist. Learning Beethoven and Brahms from a classically trained mother suggests that the absence of a music school was not an absence of classical grounding. He fell in with the jingle crowd, a regular check: he did two or three a week, sometimes as a composer and sometimes as a synth programmer for other composers, and he started working with Trevor Horn and Geoff Downes. Fed up with the world of rock ’n’ roll, he began working as an assistant to Stanley Myers, who showed him how the orchestra worked. Two or three jingles a week, then an assistantship to Stanley Myers, sketch a working education in which each job taught the next skill. He then built himself another studio, which other people wanted to be part of, among them Mark Mancina and John Powell, and directors liked coming over to hear mock-ups of a score and discuss the music to picture without a hundred-piece orchestra waiting outside. Hearing a mock-up and talking through music to picture can be a way of testing ideas while they are still easy to change. CBS describes him as a pioneer in fusing electronics with orchestral music, using a digital library that he built himself with original computer code, recording each instrument in a real orchestra note by note. Building the library with his own code, from real players recorded note by note, hints at a composer who treated the instrument as part of the composing. Zimmer says: “I love the idea that electronics let you shape sounds in a way that go beyond the way an orchestra can.” Interstellar (2014), directed by Christopher Nolan, has music by Hans Zimmer. He and Nolan agreed early on that they wanted to do something that had not already been used to score space epics: “We’d done the big drums. We’d done the brass. We’d done the ostinatos. So Chris said, ‘You know, we’ve never tried a pipe organ.’” Ruling out the usual tools of a space epic and reaching for an organ suggests a score shaped by what had already been done. At his studio in Los Angeles he composes his scores on a keyboard and computer, as with the music for the first Pirates of the Caribbean film.
Zen Virtual Piano'da Hans Zimmer tarafından hazırlanan piyano sheet'lerini keşfedin.
Hans Zimmer says his career did not begin in Germany: “I could never get a job there since I hadn’t gone to music school, and they wanted to see references from an Akademie.” He was playing in bands in England, in colleges and workingmen’s clubs among other places. A path that began outside the Akademie, in rooms where bands played, suggests that much of his training came from playing. His love of music grew out of a childhood in West Germany, where, while other kids liked to play games, he liked to play the piano. He says he knows his Beethoven and his Brahms inside out, having learned about them from his mother, a classically trained pianist. Learning Beethoven and Brahms from a classically trained mother suggests that the absence of a music school was not an absence of classical grounding.
He fell in with the jingle crowd, a regular check: he did two or three a week, sometimes as a composer and sometimes as a synth programmer for other composers, and he started working with Trevor Horn and Geoff Downes. Fed up with the world of rock ’n’ roll, he began working as an assistant to Stanley Myers, who showed him how the orchestra worked. Two or three jingles a week, then an assistantship to Stanley Myers, sketch a working education in which each job taught the next skill.
He then built himself another studio, which other people wanted to be part of, among them Mark Mancina and John Powell, and directors liked coming over to hear mock-ups of a score and discuss the music to picture without a hundred-piece orchestra waiting outside. Hearing a mock-up and talking through music to picture can be a way of testing ideas while they are still easy to change. CBS describes him as a pioneer in fusing electronics with orchestral music, using a digital library that he built himself with original computer code, recording each instrument in a real orchestra note by note. Building the library with his own code, from real players recorded note by note, hints at a composer who treated the instrument as part of the composing. Zimmer says: “I love the idea that electronics let you shape sounds in a way that go beyond the way an orchestra can.”
Interstellar (2014), directed by Christopher Nolan, has music by Hans Zimmer. He and Nolan agreed early on that they wanted to do something that had not already been used to score space epics: “We’d done the big drums. We’d done the brass. We’d done the ostinatos. So Chris said, ‘You know, we’ve never tried a pipe organ.’” Ruling out the usual tools of a space epic and reaching for an organ suggests a score shaped by what had already been done. At his studio in Los Angeles he composes his scores on a keyboard and computer, as with the music for the first Pirates of the Caribbean film.
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