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The walking dead theme song on piano11/13/2022 ![]() ![]() ![]() ‘I thought that was so disturbing, and so creepy, that I just wanted to hear that main title string grade earlier, to comment on the end of that scene, so I started the main title music before the main title. ‘There’s the point in the first episode where this show is structured with a teaser before the main title, and as a teaser for the first episode of The Walking Dead, Rick encounters what he thinks is a little girl and he turns around…it’s a walker and he shoots her in the head, then it cuts to title,’ he said. The Whisperers have now been given their own music theme (Picture: AMC) Why you hear the theme before the titles run It’s utter simplicity is what I think makes it an effective tool for scaring people and simultaneously being memorable.’ ‘It’s a 35 second title sequence but it really is just two seconds of information that just repeats and dissonant colours that come in an modulates a little bit, but basically the entire theme can be boiled down to one bar, and I find in a sort of minimalist way in an almost Phillip Glass horror way. ‘I would imagine The Walking Dead is among the simpler theme songs out there, if you really boil it down,’ Bear later added of the final piece. ‘It actually went from being one of the hardest things for me to write, to being the thing I wrote the quickest!’ ‘That sketch that I did in about half an hour when I first got that idea, went to Gail, Frank, AMC, and then the millions of fans, virtually unchanged from that initial idea,’ he said, laughing. It seems he wasn’t the only one to think so, and within days Frank and the AMC team had given their approval, and he’d got himself a title track. ‘It’s really weird, and it tells me that when you try to force something creatively, you often find yourself going down the wrong path, or going nowhere, and then when you wait for the right set of circumstances or inspiration to hit you, something can happen very quickly.’ ‘I quickly sketched out a main title for The Walking Dead and after struggling with it for weeks, it happened almost instantly,’ he added. When you try to force something creatively, you often find yourself going down the wrong path ‘In five seconds I realised I had the main title.’ I added a D Flat and within seconds I heard this thing, this urgent, Bernard Harmann kind of colour. ![]() ‘Literally the last 15 seconds of the episode, I suddenly have an action thing to write, so I started looking at it, and immediately I heard this urgent fast string break that use the open strings of a violin, G, D and A. ‘The theme, the title sequence, was just sort of just gnawing at me, I couldn’t crack it,’ Bear added. ‘Normally the theme is the first thing I write, and in the case of The Walking Dead, I just couldn’t crack it, and I struggled at it so long, I eventually started scoring the show when Frank and I, we’d come together, go through it, talk about all the themes, and I just started writing cues. ‘I have to admit that I struggled with The Walking Dead theme, perhaps more than any other theme for a show that I’ve ever written,’ he continued. You can listen to “ The Night King” and “ Light of the Seven” on repeat on Spotify.‘When Frank started developing The Walking Dead, he brought me on very early,’ Bear told us, adding that at the time, the show didn’t even have a cast and the pilot episode was yet to start filming. With only three episodes of the hit series left, we may not get any more piano pieces, but at least it’s already given us two of the greatest sequences in the show’s history. Game of Thrones viewers, whether they’re conscious of it or not, are now conditioned to expect something of great importance whenever those piano plinks surface. Like Cersei’s impending threat, the score was invisible but impossible to ignore.īoth moments underscore how effective a single music cue-or in this case, one instrument-can be in evoking tension and dread. Djawadi lit his flaming arrow, let it shudder for a minute, suspended in a state of stress, before letting it loose with perfect aim. It was a beautiful extended moment, with that piano score creating a psychic link to the carnage of “Light of the Seven.” It prepared us to say goodbye, but the inverse occurred the ruler went down while the masses-at least most of those high up on the episode’s call-sheet-stayed standing. ![]()
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