BERNARD HERRMANN masterclass - CAPE FEAR re-score
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- Опубликовано: 26 май 2020
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In this one we look at Elmer Bernstein's re-arrangement of Herrmann's original 1962 score to the film CAPE FEAR - for Martin Scorsese's 1992 remake. We'll look at Herrmann's handwritten manuscript and listen to examples programmed using Spitfire Audio's Bernard Herrmann Toolkit.
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Please do more of this, it is so incredibly interesting and inspiring!
Thank you!
Bernard Herman and Jerry Goldsmith were two of my favorite film composers. The descending line is reminiscent of one of Howard Hanson’s Symphonies. I can’t remember off the top of my head which one. Bernard Herman was the Master of using just a few instruments to create so much tension. Listen to “Talking Tina”. Anyway, great job ❤❤❤
This is absolutely brilliant! Thank you so much for doing this.
This video is incredible! Thank you for this! More of this please! 😄
Not sure how I missed this one. Thank you again Paul for brilliantly breaking down the elements of these scores. I learn more and more from you each day! Cheers and happy holidays!!
I find this kind of analysis incredibly useful, and you’ve managed to analyse in great depth while maintaining brevity. Bravo.
This is a magnificent walkthrough of a classic soundtrack. Loved it.
Thanks Laurie!
I hope we come back to this kind of composition because it's so well mastered by composers who know how to give emotion to the scene LOVE YOU for giving us composer tresors
Paul, this is brilliant. So concise and informative. I loved how you managed to superimpose the paper scores above the midi piano roll in logic..I can’t wait for the next one.. THANK YOU
Outstanding breakdown of the works
I’m only two minutes into this video and I already know this is one of the best things I’ve seen on RUclips in years. God, I love Herrmann and this score in particular.
What an incredible resource. A huge thank you for your efforts pulling this together. Amazing!
Thanks Robert. A surprising amount of work!!
Thank you again for an incredible master-lesson, Professor Paul! Really enjoying all of these.
Thanks Ian you’re very welcome!
Detailed, easy to follow and insightful! More of these great breakdowns Paul!
Thank you Jack!
Oh ....why i never saw this.Thank you a lot Paul ,this is just awesome and so much to learn fom and on it !You did here a very great Job
Appreciate this video soo much.
Bernard Herrmann was one of the biggest Composer.Elmer is also a very great Composer.Did listen Norh by Northwest.such a masterpice too
This was a fantastic walkthrough, thank you Paul. I am really enjoying the Bernard Herrmann Toolkit. Such a wonderful sound.
Thanks Bob glad you're enjoying it! Its one of my favourites!
Awesome content. Much needed in RUclips. Thanks Paul!
Thanks Cesar!
Brilliant work Paul! Thanks for this amazing insight into the composing mind of the great B.H.
Always nice to step back into Herrmann's world!
Great video Paul! Thank you! I’d love to see more analysis like this.
Thanks Declan!
This is just fantastic! Thank you!
Thanks Breck!
Paul, you are awesome, nothing more to say. Huge respect. Thank you
You are very kind!! thank you!
This is fantastic Paul ! You do this type of tutorial so very well. The people that get to work with you are very lucky. Stay safe and keep cranking out samples, libraries and of course; music.
Thanks for your kind words Gordon!
I would love to see the Hermann library updated and ported over to the Spitfire player. 😀
Fantastic. Thank you for this!
Thanks Donovan!
This is so good, Paul! Tks
Thanks for your kind words!
Wow Paul, really top notch stuff! Thanks!
Thanks Luis!
Great video Paul - look forward to more of the same - thanks!
Thanks Andrew!
There is poetry and a small piece of history in this video and this is splendid.
Thanks Riccardo!
This is brilliant stuff to pick over thank you, and a great demo of the library. Great to see the score and piano roll against the audio as it’s interesting to see where the string parts are written as independent voices and what affect parallel movement has in contrast. Also good to know even in your swanky studio there’s a bean can pen pot like the rest of us 😄
Haha!! True - but it has “SSL” on the label.. so kind of studio legit! I found that even using the strings hi and lo patches - it just worked. I sweetened occasionally using the UAD neve channel to eq to make it a bit more “vintage sounding”. Glad you enjoyed!
Great tutorial
A great composer… and a great audio library!
Herrmann was a genius.. thanks for your kind comments!
This was so good Paul! Would love to see one on Herrmann's unused score for Torn Curtain. Fantastic stuff.
Agreed..that score used 12 flutes, 16 French horns, 9 trombones, 2 tubas, 8 celli, 8 basses and 2 sets of timpani (no high strings of high brass) love the monochromal color
Great lesson Paul, I really enjoyed the Cell focus
Thanks Phil!
Incredible breakdown!
Thanks Neil!
This is a great presentation of these scores, Paul, thank you for doing this! Hearing this score as a kid planted a string tremolo bee in my bonnet, which (for better or worse) remains permanently fixed in my arsenal. Gonna have to pick up the Benny Toolkit now, too, these are fantastic sounds...
Thanks Daniel - yes it got me into that - also the tension release idea which I try to use all over the place - love some crunchy chords!!
@@PaulThomsonMusic I really love, too, how Herrmann maps tension/resolution onto the timbral plane, too...like in 3:45 of your video here, relative timbral tension (stopped horns, pont strings) resolving to relative timbral resolution (open horns, ord strings)...tension and release on so many levels!
Dear Paul, I had a Tab open to watch this for weeks now and finally managed to do so. Thanks so much. I loved it just like I loved the two movies! Would it be possible to share the logic project with us. For those of us (like me) who bought the BH Library it would be really cool! Thanks again for doing this!
Wow nice one again :)
Thank you as usual! Maybe it could also be interesting to analyse the harmonic structures and the orchestration of these cues in the future!
Nice idea!
That you find the time to do something special like this ..... Thank you very much. This is VERY inspiring.
Great to hear - thank you!
Paul Thomson Very hard to find this level of detail on YT.
Great break down Paul! Thanks.
Thanks Lachlan!
@@PaulThomsonMusic Thank you. I've been watching a lot of your tutorials lately and I've been finding them really insightful. It's very generous to be providing such great resources for free. They definitely have been helping me to improve my compositions.
Always been a fan of Bernard Herrmann and the original film from 1962, but have not seen Scorsese's 1992 remake, or heard Bernstein's re-arrangement. So thanks for this. Great explanation. Just pulled up the 1992 score and will listen next.
Great! Its fascinating to compare them..
@@PaulThomsonMusic It is a truly amazing score. Only wish I had such talent. Riviting from beginning to end. Thanks again.
I'm so happy having the original album
Please consider 12 Mile Reef with its 9 harps, journey to the ctr of the earth with its 5 organs and Argonauts with its massive orchestration of brass, winds and percussion including tambourine, vibraphone, chimes, tam tams, castenets, cymbals, 5 large gongs, 2 sets of 5 timpani each..awesome
Thanks for this! :)
You're welcome!
Paul’s masterclasses are second to none!
Thanks Trey!
All I can think of is Sideshow Bob. Like many things, my first exposure to this score was the adaptation in The Simpsons episode Cape Fear.
Please consider 'North by Northwest' for the next re-score video... it is such an amazing score...
Splendid. You are on to a winner, Paul. I heard quite a few elements similar to Psycho whilst watching Cape Fear the other day, supported in this demonstration. Herrmann's recipe?
Classic 50's till 70's....
Based on a novel by John D. McDonald of Travis McGee fame, I believe. The book and both movies were real dread-filling thrillers.
Agreed - and very different!
This is so wonderful of you - thanks! What are the chances of sharing the MIDI with us so we can try this out at home? Cheers.
Wonderful video, Paul! In Fig. 8 @7:22 - you use the legato patch where Herrmann's score calls for sords. Is that because Bernstein removed the sords in his re-score? I just got the Toolkit, and it is amazing! Thanks.
Nice!
Thanks Marcus!
Paul Thomson no problem!
Would you mind doing a breakdown of some Goldsmith, since you mentioned him? Might be an opportunity to showcase Abbey One again.
Thx! I'll have to check this one. Those chords sound amazing!
Thanks Urs!
Library sounds phenomenal. I can't decide if I should get this, Albion Neo or BBCSO... And none of them even cover the same territory. :O
As the Spitfire Westworld competition testifies, there are a lot of people nowadays relying on the sounds alone without much content musically. It’s inspirational to study the craft of the greats such as here, Herman and Bernstein both having instantly recognisable styles. Thanks for the reminder that film scoring is an art.
Thanks Steve - and what an artist Herrmann was..
Something I noticed right away was that the main theme or motif is very similar to Kylo Rens theme in the new SW movies. Except John Williams gets rid of the opening C has the last note going back up a minor 3rd. I wonder if that was intentional or if it was a cool coincidence!
Totally!
As a long time owner of BHCT it'd be great to get a project file of this if possible/legal? Speaking for myself I've never been able to make much use of the library and this demonstrates how ridiculously awesome it really is!
Thanks Asher - I'm not able to share the project file unfortunately but if you look at my track names and the score its pretty quick to work out!
Shostakovich Dmitri would be very surprised about this music
Your MIDI-sound is great! I wish you could do more Herrmann with your midi-equipment, especially "Endless Night" since the re-recording of it is full of mistakes.
thank you!
Paul - great video - much appreciated - where did you get access to the score?
cheers!
Thanks Darin! I got permission from the wonderful people at the Herrmann estate. I had access to the scores for a few of the films when designing the instrumentation of the Herrmann Composer Toolkit sample library.
What were the main thematic similarities and differences between the scores for “Psycho” and the original “Cape Fear”?
This is awesome, Paul! Also, not to be nosy... but what is the new knobby device on your desk?
Loupedeck CT!!
@@PaulThomsonMusic Thanks Paul - I'll have to look into this little device!
Hi guys, I like to know your point of view about Adam S3V monitors.
Where I can find the manuscript?
In Figure 8 you recorded only the Violins II, right ? Violins I play those haunting parallell thirds an octave up. Herrmann used this idea extensively in "Vertigo", and later the idea of parallell thirds was adapted by many other composers (Williams, Goldsmith etc.) in certain passages depicting sadness, tension, gore...
Hi Paul. I see your using stopped horns in these arrangements and I must ask as an owner of Bernard Herrmann Composer Tool Kit, where do I get/find stopped horns in this library? Did you EQ them to simulate stopped horns or are they sampled stopped horns. If they are simulated I'd really like to see an tutorial on that topic.
Simulated using a Fabfilter (as per the channel strip note!) I’ll put something up on this in a future video it’s quite a useful tool!
Absolutely great! Are you a professor, working composer, or both?
Very kind! I’ve been a working composer for 25 years. Not a professor!
@@PaulThomsonMusic Hi Paul, I work for the Yamaha Educational Division in the US, calling on schools in the Northeast. Would you have minute to email me at domcicchetti@mac.com?
What is the fancy-looking gizmo above the keyboard?
Loupedeck CT!
@@PaulThomsonMusic Thank you kindly!
Io preferisco la versione 1962 BERNARD HERRMANN GENIUS THE BEST
4 Flutes 8 French Horns and String section..
Not a big deal, but it's pronounced BernSTINE, not Bernsteen.
Nope! If you search for interviews of him he pronounces it steen.
@@PaulThomsonMusic Hello from Vermont, Mr. Thompson. Do you have links to BernSTEEN clips? Today, I'm creating cyanotypes - a wonderful English invention - and their long exposure times allowed me time to look around as you recommended.
So far, I've found that he was Leonard BernSTINE when introduced on television in the United States:
ruclips.net/video/nMIjS_Kui7E/видео.html
In radio broadcasts, he was introduced as BernSTINE:
ruclips.net/video/SvWPM783TOE/видео.html
His associates all referred to him as BernSTINE:
ruclips.net/video/JgQYY4dK0kM/видео.html
Conductors who knew him referred to him as BernSTINE:
ruclips.net/video/i72-Hb0jayI/видео.html
English interviewers referred to him as BernSTINE:
ruclips.net/video/pisSH7X09Ac/видео.html
When he received the Kennedy Center Honors in 1980, he was referred to as BernSTINE:
His children pronounce the family name as BernSTINE:
ruclips.net/video/Ek7pZlPxbfQ/видео.html
A 1970 article by in New York magazine makes reference to Bernstein and others about the pronunciation:
"Leon Quat rose up smiling: 'We are very grateful to Mrs. Bernstein”-only he pronounced it “steen.”
“STEIN!”-a great smoke-cured voice booming out from the rear of the room! It’s Lenny! (. . .) For years, 20 at the least, Lenny has insisted on -stein not -steen (. . .). Lenny has made such a point of -stein not -steen, in fact, that some people in this room think at once of the story of how someone approached Larry Rivers, the artist, and said, “What’s this I hear about you and Leonard Bernstein”-steen, he pronounced it - “not speaking to each other anymore?”-to which Rivers said, “STEIN!”
Over the years, I've heard his name mispronounced as BernSTEEN. However, I can't find anything showing that he, his family, associates, other musicians, his students, broadcasters - that is: people in contact with him - ever called him anything other than BernSTINE.
Well, I have another cyanotype to develop. Have a wonderful day and a safe week. Best wishes. :)