Chinese name: Corpse Bride

English name: Corpse Bride

Alias: Bride of Hell

Resource type: APE

Release date: September 22, 25

Album singer: Danny Elfman danny elfman

Region: United States, South Korea

Language: English

Introduction:

Album introduction:

Tim Burton's latest work, Corpse Bride, is the same as the Stop-motion animated film "The Nightmare Before Christmas" with a black tone 12 years ago. In 1993, there were many similarities. As far as music is concerned, Danny Elfman, who wrote music, lyrics and songs, personally voiced and sang for the characters in the play, and the singing methods of the characters in the play were quite musical. There are two completely different worlds in the stories of Hell Bride and Scare on Christmas Eve, and it is feasible to copy the music creation. However, Danny Yefman's concept of investment in the two is not the same.

The Overture of The Scare of Christmas Eve clearly shows the hilarious atmosphere of Pee Wee's Big Adventure, which Yefman and Burton cooperated for the first time. A series of upward notes, combined with the obvious bell beat, bring out high emotions and point to the time of Christmas Eve. The song This is Halloween, which is used as a contrast, is the soul of the Halloween world in the play. Three downward notes are used to correspond to the three syllables of the word Halloween, which strengthens the connection between musical motivation and the theme of the story. After the theme was clearly established, the melody of This is Halloween and several other songs became the backbone of the whole soundtrack of Christmas Eve.

"Bride of Hell" breaks away from this way that the melody of the song dominates the score. From the beginning, Main Titles introduced a sad melody in A minor. The sad motive not only explained the psychological state of the hero Victor, but also reappeared in the film through tone sandhi and different interpretation techniques. It is the most important music theme of the whole soundtrack, and the mood of the work is very different from that of The Scare of Christmas Eve, which is full of Oingo Boingo's arrogance. Although Yefman also wrote several songs for this animated film to let the characters play, he did not vulgarly fill in the lyrics of this central melody to let the protagonist sing. Burton and Yefman took a more clever approach, and let Victor play the melody in D minor on the piano with Chopin's romantic style of Fantaisie-Impromptu, Op.66), which made the theme relate to the protagonist for the first time.

this kind of music foreshadows and then ferments in The Piano Duet scene; Emily, the bride of hell, played a melody related to Victor's piano theme on the piano keyboard, and then Victor joined in, transforming the melody into the theme she had played before, and started their four-handed joint play. The hero and heroine sat in front of the piano together and communicated through music, which was stronger than any affectionate duet.

this time, Yefman plays the role of voice and backup singer, which belongs to Bonejangles in the hell world. This role not only sings as hard as Jack Skellington in "The Scar of Christmas Eve", but also leads Bone Boys to play rock jazz, and revels with the enthusiasm of ghosts, reflecting the gloomy tone of the dead. The sound of Xylophone in the paragraph of Remains of the Day has quite eye-catching performance effect, just like the "Fossils" in Le Carnaval des Animaux in San Sang, which emphasizes the humorous image of bones colliding with each other. During the music, the motive of "funeral March" in the third movement of Chopin's Piano Sonata No.2 (op.35) was suddenly inserted to remind everyone that this is a carnival belonging to the underworld.

The Wedging Song passage also misappropriates symbolic melodies from other music works. Yefman combined the singing style of musical with the chorus style of operetta, and the warm scene was enough to prompt the wedding atmosphere. However, before the end of the music, he quietly combined the motive of the wedding March in the third act of Wagner's opera "Lohengrin" into his own melody, and the music at the end was a parody, just to win the king's attention.

In terms of sound design, the Harpsichord with light tone and rich antiquity adds a lot of ancient flavor to Bride of Hell, which was set in the 19th century (although harpsichord was doomed to be eliminated by piano in that era). Organ, which is used by some horror movies, also appears in the works (such as Victoria's Escape), but fortunately it is only used to harmonize the musical atmosphere, without being overly pretentious; In fact, Yefman, who has already established a set of self-philosophy in dealing with ghost themes, does not need to be so kitsch.

On the whole, although the two works are interesting, Bride of Hell does play more tricks. The reason for this is that the score keeps a proper distance from the songs in the play, avoiding the embarrassment of being led by the melody of the songs, and earning more music expression space is a breakthrough in comparison.

album tracks:

1. main title

2. according to plan

3. victor's piano solo

4. in the forest

5. remains of the day

6. casting a spell

7. moo. n Dance

8. Victor's Deception

9. Tears to Shed

1. Victoria's Escape

11. The Piano Duet

12. New Arrival

13. Victoria's Wedding

14. The Wedding Song

15. The Party Arrives

16. Victor's Wedding

17. Barkis's Bummer

18. The Finale

19. End Credits Part 1

2. End Credits Part 2

21. Ball & Socket Lounge Music #1

22. Remains of the Day

23. Ball & Socket Lounge Music #2

24. Ball & Socket Lounge Music #1

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