A study in contrasts, the score to The Corpse Bride, 's second 2005 collaboration with, features some of the composer's gentlest, most restrained pieces as well as some of his vividest ones. Tellingly, most of the pieces that soundtrack the land of the living, including the 'Main Titles' and 'Victor's Piano Solo,' are gray-on-gray pieces inspired by chamber music. Meanwhile, the music of the dead spans the macabre but still vibrant 'Remains of the Day' - which explains how the Corpse Bride came to pass, and makes a refrain like 'die, die, we all pass away' sound downright cheerful - as well as the swooning, spooky romance of 'Moon Dance.' Indeed, aside from a few slightly scary tracks, 's music is largely (if darkly) romantic: 'Piano Duet' and 'Finale' both have an otherworldly sweetness shared by the ruefully witty 'Tears to Shed,' in which the Corpse Bride's friends (including the maggot that lives in one of her eye sockets) try to convince her that lacking a pulse isn't so important when it comes to true love.
The soundtrack's other songs are just as pithy. 'According to Plan' neatly outlines the living couple's families and their reasons for marrying - Victor VanDorts' parents are grasping nouveau riche, while Victoria Everglot's are aristocratic but penniless - and offers some clever commentary on arranged marriages to boot. 'The Wedding Song,' meanwhile, recalls the madcap whimsy of The Nightmare Before Christmas, although for two films with similar looks, themes, and creative teams, The Nightmare Before Christmas and The Corpse Bride's scores are remarkably, and admirably different. The soundtrack also includes a suite of bonus tracks by Bonejangles (who is voiced by ) and his Bone Boys, a group of underworld hepcats inspired by, and hot jazz and swing in general.
The 'Minnie the Moocher'-esque 'Remains of the Day (Combo Lounge Version)' and 'Ball & Socket Lounge Music #2,' for example, would make a great soundtrack for hipper Halloween and Day of the Dead-themed dinner parties. Equally playful and sophisticated, is a delightful score that delivers on all of the expectations of an / teaming.
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Corpse Bride Costume Ideas
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Genre: Score Date: 2005 Country: USA Audio codec: MP3 Quality: 320 kbps Playtime: 96:15 CD1 01. Main Titles (02:00) 02. According To Plan (instrumental) (04:26) 03. According To Plan (song) (03:45) 04. Victors Piano Solo (01:30) 05. Victor And Victoria (01:11) 06. Victor Drops The Ring (01:17) 07.
Into The Forest (04:46) 08. Ball & Socket Lounge Music #1 (source) (01:12) 09.
Remains Of The Day (instrumental) (03:27) 10. Remains Of The Day (song) (03:26) 11. Victor Is Missing (00:23) 12.
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Lord Barkis Brings Bad News (00:30) 13. Until Dawn (00:55) 14. Victor Tries To Escape / Talking To Emily / Elder Gutknecht (04:51) 15. Casting A Spell / Moon Dance (03:12) 16.
Victor Gets Cold Feet (01:53) 17. Victors Deception (01:41) 18.
Were Just Too Different (02:12) 19. Tears To Shed (song) (02:38) 20. Tears To Shed (instrumental) (02:37) CD2 01. Victorias Escape (02:31) 02. Lord Barkis Convinces The Everglots (00:53) 03. Until Death Do Us Part (00:56) 04. Death Of Mayhew (00:31) 05.
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The Piano Duet (01:56) 06. Ball & Socket Lounge Music #2 (source) (00:41) 07. Remains Of The Day (combo lounge version) (source) (03:06) 08. Victorias Wedding (film version) (01:07) 09. Victorias Wedding / A Slight Complication (alternate) (03:15) 10. A Slight Complication (film version) (02:08) 11. Let’s Take This Party Upstairs (00:20) 12.
The Wedding Song (instrumental) (03:03) 13. The Wedding Song (song) (03:01) 14.
The Party Arrives (03:34) 15. To The Church! Here Comes The Bride (source) (00:42) 17. Victors Wedding (02:09) 18. Barkis’s Bummer (film version) (03:26) 19.
Barkis’s Bummer (alternate) (02:07) 20. The Finale (02:35) 21. End Credits (Part 1) (01:50) 22. End Credits (Part 2) (02:32) 23. Ball & Socket Lounge Music #3 (band version) (02:15) 24.
Ball & Socket Lounge Music #4 (01:10) 25. Ball & Socket Lounge Music #5 (combo version) (02:14).
Corpse Bride Costume Plus Size
Online preview # Danny Elfman — Corpse Bride Length preview Bitrate Size 1. Main Titles Danny Elfman 2:06 need 320 4.81 2. According to Plan Danny Elfman 3:45 need 320 8.61 3.
Victor's Piano Solo Danny Elfman 1:18 need 320 2.98 4. Into the Forest Danny Elfman 4:35 need 320 10.52 5.
Remains of the Day Danny Elfman 3:27 need 320 7.90 6. Casting a Spell Danny Elfman 1:25 need 320 3.27 7. Moon Dance Danny Elfman 1:28 need 320 3.37 8. Victor's Deception Danny Elfman 4:00 need 320 9.16 9. Tears to Shed Danny Elfman 2:45 need 320 6.32 10. Victoria's Escape Danny Elfman 2:31 need 320 5.76 11.
The Piano Duet Danny Elfman 1:53 need 320 4.33 12. New Arrival Danny Elfman 0:42 need 320 1.61 13. Victoria's Wedding Danny Elfman 3:15 need 320 7.45 14. The Wedding Song Danny Elfman 3:01 need 320 6.91 15. The Party Arrives Danny Elfman 3:21 need 320 7.68 16. Victor's Wedding Danny Elfman 2:09 need 320 4.92 17. Barkis's Bummer Danny Elfman 2:07 need 320 4.86 18.
The Finale Danny Elfman 2:35 need 320 5.94 19. End Credits Part 1 Danny Elfman 1:50 need 320 4.21 20. End Credits Part 2 Danny Elfman 2:33 need 320 5.86 21.
Ball & Socket Lounge Music 1 (Band Version) Danny Elfman 2:15 need 320 5.18 22. Remains of the Day (Combo Lounge Version) Danny Elfman 3:06 need 320 7.12 23. Ball & Socket Lounge Music 2 Danny Elfman 1:10 need 320 2.70 24. Ball & Socket Lounge Music 1 (Combo Version) Danny Elfman 2:14 need 320 5.13 59:31 136.66. Plot summary Set back in the late 1800s in a Victorian village, a man and woman by the names of Victor Van Dort and Victoria Everglot are betrothed because the Everglots need the money or else they'll be living on the streets and the Van Dorts want to be hight in society. But when things go wrong at the wedding rehearsal, Victor goes into the woods to practice his vows. Just as soon as he gets them right, he finds himself married to Emily, the corpse bride.
While Victoria waits on the other side, there's a rich newcomer that may take Victor's place. So two brides, one groom, who will Victor pick?
By September 27, 2005 This has been a banner year for fans of Danny Elfman 's scores for Tim Burton movies. Just two months ago we were lavished with the treat that was Charlie and the Chocolate Factory. Elfman successfully merged what some have taken to calling his two styles, gothic strings and computerized percussion, into one of his best scores.
On top of the score, as icing on the cake, there were also the perfectly rendered settings of Roald Dahl 's delightfully satirical songs. Now we have Corpse Bride, a return to the style of Nightmare Before Christmas, a score that remains one of Elfman 's most cohesive works. Like the earlier movie, Corpse Bride is a work of stop motion animation that strongly evokes Edward Gorey 's darkly tongue-in-check Victorian drawings. It mixes the living and the dead for a charming story of misfits learning to fit in. And it features song and dance numbers that perversely and delightfully skew the Disney tradition of animation.
Corpse Bride Costume Pattern
Elfman has expanded his compositional palate in the past few years and it definitely shows in the score for Corpse Bride. Put simply, this is a stronger score than Nightmare Before Christmas.
It has a depth of harmonic inventiveness and melodic interplay that frankly surprised me because the score is mainly built around one melody. The clearest statement of that theme comes in 'Victor 's Piano Solo,' where the protagonist, thinking himself alone, begins to play the piano. My essentials wireless-g usb adapter driver.
The theme he plays fits perfectly with the movie 's Victorian aesthetic (an aesthetic mirrored in the main character 's names being Victor and Victoria) as it is a salon piano work reminiscent of Chopin and countless Romantic Era imitators. The theme, accompanied by minor chord arpeggios that constantly shift and curl underneath, focuses on a repeated note pattern and ever-expanding trips away from that center.
It is a simple theme, but in the transformations of that theme Elfman delivers both narrative and melodic drive. For ease of hearing his deft manipulations, listen next to 'The Piano Duet,' a scene late in the movie where Victor has come to accept that he has lost Victoria and could live with Emily, the Corpse Bride. Emily begins to play a wandering melody that is structurally related to Victor 's piano theme. As Victor joins her at the top of the piano, we hear him make his decision to stay with Emily as he slowly takes her piano theme and turns it into his own by completing her phrases and conclusively cadencing. The two then engage in a frenzy of playing that is abruptly cut short, letting us know musically that Victor will make his choice to stay with Emily, but will ultimately win the life he deserves before we see that progression played out on screen.
These sorts of touches abound throughout the score, demonstrating Elfman 's comfort with Burton 's visual language and story telling practices. Elfman constantly supports both through the music, which is the mark of an excellent score. As if that were not enough, there are the four new original songs. Overall, the songs are not as strong as those in Charlie and the Chocolate Factory nor as central to the plot as the songs in Nightmare Before Christmas, but, again, they do follow the movie 's design. Burton chose to color the land of the living in drab greys, blacks, and browns.
The land of the dead is a complete contrast, as it is a riot of color and sound, and Burton saved most of the interesting camera angles for the scenes set there. Elfman followed suit by opening the movie with 'According to Plan,' a song sung by Victor and Victoria 's parents providing the audience with necessary background.
The song, accompanied by harpsichord, is four-square with regular rhythms and phrases. There is clever wordplay, but overall it could fit perfectly well in any mid-century Broadway production. The second song, 'Remains of the Day,' serves a function similar to 'According to Plan' by providing backstory for Emily, but from the beginning it announces itself as something new. The xylophone plays an asymmetric rhythm until the piano comes in backed occasionally by horns.
This is old-style jazz with its constantly shifting meters and tempi and is as musically different from the music of the land of the living as the colors are visually different. The best song of the score comes with the last one, 'The Wedding Song.'
Although it begins much as 'Making Christmas' did in Nightmare Before Christmas, it quickly breaks off into a spot-on parody of Gilbert and Sullivan operetta. A woman 's chorus sings in harmony juxtaposed with solo parts that play off one another and throw out their words almost as fast as you can hear them. It all climaxes with the wedding procession, a chorus part that plays with our expectation of Wagner 's wedding march by weaving in fragments of the famous piece until a true statement occurs at the song 's end. It 's such a successful blend that I can see it getting quite a bit of play at goth weddings in the future. Overall, Elfman has constructed a wonderful score with a handful of good songs that serve the plot, but never rise to the level of earlier efforts. Still, after waiting twelve years it is a pleasure to revisit the feel of Nightmare Before Christmas and see some new touches added on. Let 's hope we don 't have to wait that long again before the two collaborate on another animated feature.
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