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- #The walking dead theme song music for violin movie
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- #The walking dead theme song music for violin tv
When you're thinking about what role music plays in storytelling, how would you define your job? What role do you see music serving in terms of informing the audience or getting them ready for something to happen? And it was one of the pivotal moments, both narratively in the show - it was a big reveal - but also in my career, because it really allowed the music to become a character in the show.įrom that point on, for the rest of "Battlestar Galactica," my score was integrated into the narrative in a way that was very daring and unusual. I pitched it to Ron Moore, the showrunner, and I was expecting it to be shot down gloriously because it's so bizarre, but everybody loved it. I was working on the season finale for the third season of "Battlestar Galactica," and I got the memo that the producer wanted a version of Bob Dylan's "All Along the Watchtower." So I kind of wanted to do a "George Harrison meets Rage Against the Machine version," which I think was actually written on the score where it would normally say "adagio" or whatever. Let's talk a little bit about the orchestration on that track - what were you trying to do, and what was the setup? People are very excited to help them find their vision and put it on a screen for audiences it happens to be the small screen, but we get to tell pretty big tales. So when your producer is Joss Whedon or Frank Darabont, and we go to the studio and say, "Hey, we want to do this for the music," there are no arguments. I think that perceptions of television have been changing over the last 10 years and there's been a sort of gold rush in terms of talent moving from other arenas into television. The orchestra that I record every week on "Agents of S.H.I.E.L.D." for Marvel, for example, is every bit as big as the orchestra that records on their movies.
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Sometimes it feels a little like that, although really I think that trend is reversing. Are you the exception to the rule? Are you fighting against a trend here? But you're able to work with very talented musicians. My impression of music in television is a little bit like arts education in public schools: it's like the first thing to go.
#The walking dead theme song music for violin movie
And when I was about 6 I realized you can go to a store and buy a tape or vinyl of the music from a movie without the dialogue and sound effects. I was! I would bring them to the movie theater and hold them up, because I wanted to take the music home and listen to it. I was 5 years old and I was in a movie theater, and I started bringing these little Fisher-Price tape recorders? And I guess I wa.
#The walking dead theme song music for violin tv
How early did you find your love for film and TV scores?
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When McCreary came by the Frame studio (hurdy-gurdy in hand), we talked about the current landscape of music on television, cutting his teeth on "Battlestar Galactica" and the enjoyable restrictions of working on Starz.
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Over the years he’s forged a niche for himself, creating orchestral scores for shows mainly in the sci-fi and horror genres, but his more recent project includes the period epic “Black Sails,” the Starz series about the golden age of pirating, which just started its second season.įor this series, McCreary wanted to use period-specific instruments, like the hurdy-gurdy, to lend authenticity to the show and break the mold of "epic orchestration" that has become standard for shows and films about pirates. Working under the original scorer, Richard Gibbs, McCreary took over as principal composer after Gibb's departure only three episodes into the series. McCreary has created original music for TV shows like "Battlestar Galactica," "The Walking Dead" and "Agents of S.H.I.E.L.D." His first gig creating music for TV was on "Battlestar" when he was just 24 years old. You might not recognize composer Bear McCreary if you passed him on the street, but chances are you’ve heard one of his iconic television scores.