Hans Zimmer composed a rich score that breathes life into author Frank Herbert’s fantasy world.
industrial. Mechanical. brutal.Renowned electroacoustic composer Hans Zimmer used these words to describe his music Dune: Part 2which was released in Australia last week.
Dune: Part One (2021) showcases Zimmer’s expertise in manipulating sounds to create timbres uniquely suited to screen environments. The new movie is no different.
By carefully considering the Dune universe and utilizing a range of audio production and editing techniques, Zimmer created a rich score that breathes life into the author’s Frank Herbert’s Fantasy world.
Create a rich, textured sound world
Zimmer paid attention to the visual world of a film – such as the costume palette or the way the cinematographer shot the film – to inform his sound and instrument choices.
“It starts with creating the sonic world in which I want the music or theme to exist,” Zimmer said in interview.
He uses a variety of tools to achieve this, utilizing plug-ins and audio editing tools to fragment, granulate, stretch, shorten, invert, repeat and highlight certain parts of the sound’s frequency range.He also handles different sounds such as metal scraping or sand falls Place in metal bowl.
The result is a unique soundscape that is consistent with the war narrative at the heart of the film. The militaristic feel of the soundtrack is created through the use of deep drums and percussion, repetitive (sometimes subtle) sounds, and ominous synths that range from warm tones to uncomfortable screaming metal tone.
All of this combines to draw the viewer into the dangerous environment where deep human narratives and tensions take place.
Relentless and otherworldly.
Zimmer is very familiar with manipulating sounds to design unique sonic worlds—an approach that stems from his lifelong fascination with electronic music. In Dune: Part 2, he created a soundscape that feels as unforgiving as the planet Arrakis itself.
There are several familiar components, such as synthesized real-world elements, vocals, and riffs on the melody used in the first film. Both Paul’s and Kwisatz Haderach’s melodies are repeated, as are the Atreides’ themes.
On “Eclipse,” elements that suggest jihad are repeated – ominous deep brass, brooding percussion, unsettling vocals and synths combine to create a sinister mood.
An evocative mix of bagpipes, synthesizers and processed sounds is added to create an otherworldly atmosphere.combine with soloist The ethereal singing voice of Loire Cotlerthese different musical elements intertwine to create an unforgettable atmosphere.
The lines between the score and the film’s sound design are blurred, creating moments that build tension. For the audience, the dynamic use of these musical elements creates an almost visceral experience.
Superb soundtrack
Dune: Part 2 expands the atmospheric musical world in a more foreboding and dramatic style than the first film – woodwinds and synthesizers bring the musical world to life.
The soundtrack is worth listening to as a complete album, serving as both a dynamic continuation and expansion of the first film’s quieter, more moody score. There’s a significant shift in tone compared to the first film, and the melodic themes are carefully woven.
The first song, “Beginnings Are Such Delicate Times,” expands on a theme we heard briefly in the first film – a theme played on the bagpipes when the Atreides first arrived at the Arrakis landing site. In Dune: Part 2, this theme comes to the fore as Zimmer transforms it from a military announcement into a moment of pure emotion.
“The Quiet Time Between the Storms” develops the same bagpipe melody to a new purpose: as a romantic love theme between Charney and Paul Atreides.
The track begins with a single wind instrument, synthesizer and percussion.Percussion takes the audience back to Zimmer’s Dream of Arrakis Starting with the opening scene of the first movie. The weaving of this ominous theme contrasts with a sense of hope.
new emperor and well done The theme ties in nicely with the return of the jihad theme from the first film, which has now transformed into the theme we hear when Paul wins in the movie.
By exploring the relationship between film scoring and sound design, Zimmer creates a sonic world full of character and new sonic possibilities.
(author:Alison Colecomposer and lecturer in screen composition at the Sydney Conservatorium of Music, University of Sydney)
(Disclosure statement:Alison Cole does not work for, consult, own shares in, or receive funding from any company or organization that would benefit from this article, and has disclosed no relevant relationships beyond her academic appointment)
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