|ACERCA DE LA CANCIÓN|
|Título de la canción:||Star Trek|
|Artista:||from Star Trek The Motion Picture|
|Tipo de Instrumento:||Partitura de Piano|
|Clave musical:||C Major|
|Ritmo de Metronomo:||100|
|Estilo Musical:||Movie, TV, Soundtrack|
|Tipo de Archivo:|
|Numero de paginas:||8|
|Tipo de Descarga:||Gratis|
Info Star Trek from Star Trek The Motion Picture
«Star Trek Sheet Music The Motion Picture’» The score for Star Trek: The Motion Picture was written by Jerry Goldsmith, who would later compose the scores Star Trek V: The Final Frontier, Star Trek: First Contact, Star Trek: Insurrection, and Star Trek: Nemesis, as well as the themes to the television seriesStar Trek: The Next Generation and Star Trek: Voyager. Gene Roddenberry had originally wanted Goldsmith to score Star Trek‘s pilot episode, «The Cage», but the composer was unavailable. When Robert Wise signed on to direct the film, Paramount asked the director if he had any objection to using Goldsmith. Wise, who had worked with the composer for The Sand Pebbles, replied «Hell, no. He’s great!» Wise would later consider his work with Goldsmith one of the best relationships he ever had with a composer.
Goldsmith was influenced by the style of the romantic, sweeping music of Star Wars. «When you stop and think about it, space is a very romantic thought. It is, to me, like the Old West, we’re up in the universe. It’s about discovery and new life […] it’s really the basic premise of Star Trek,» he said. Goldsmith’s initial bombastic main theme reminded Ramsay and Wise of sailing ships.
Unable to articulate what he felt was wrong with the piece, Wise recommended writing an entirely different piece. Although irked by the rejection, Goldsmith consented to re-work his initial ideas.
The rewriting of the theme required changes to several sequences Goldsmith had scored without writing a main title piece. The approach of Kirk and Scott to the drydocked Enterprise by shuttle lasted a ponderous five minutes due to the effect shots coming in late and unedited, requiring Goldsmith to maintain interest with a revised and developed cue. :88 Star Trek: The Motion Picture is the only Star Trek film to have a true overture, using «Ilia’s Theme» in this role. Star Trekand The Black Hole would be the only feature films to use an overture from the end of 1979 until the year 2000 (with the movie Dancer in the Dark).
Much of the recording equipment used to create the movie’s intricately complicated sound effects was, at the time, extremely cutting edge. Among these pieces of equipment was the ADS (Advanced Digital Synthesizer) 11, manufactured by Pasadena, Californiacustom synthesizer manufacturer Con Brio, Inc. The movie provided major publicity and was used to advertise the synthesizer, though no price was given.
The film’s soundtrack also provided a debut for the Blaster Beam, an electronic instrument 12 to 15 feet (3.7 to 4.6 m) long. It was created by musician Craig Huxley, who played a small role in two episodes of the original television series. The Blaster had steel wires connected to amplifiers fitted to the main piece of aluminum; the device was played with an artillery shell. Goldsmith heard it and immediately decided to use it for V’ger’s cues. An enormous pipe organ first plays the V’ger theme on the Enterprise‘s approach, a literal indication of the machine’s power.
Goldsmith scored The Motion Picture over a period of three to four months, a relatively relaxed schedule compared to typical production, but time pressures resulted in Goldsmith bringing on colleagues to assist in the work. Alexander Courage, composer of the original Star Trek theme, provided arrangements to accompany Kirk’s log entries, while Fred Steiner wrote the music to accompany the Enterprise achieving warp speed and first meeting V’ger. The rush to finish the rest of the film impacted the score. The final recording session finished at 2:00am on December 1, only five days before the film’s release.
A soundtrack featuring the film’s music was released in 1979 together with the film debut, and was one of Goldsmith’s best-selling scores. Sony’s Legacy Recordings released an expanded two-disc edition of the soundtrack on November 10, 1998. The album added an additional 21 minutes of music to supplement the original track list, and was resequenced to reflect the story line of the film. The first disc features the expanded score, while the sequence disc contains «Inside Star Trek», a spoken word documentary. In 2012, La-La Land Records released a comprehensive 3 CD special edition which includes the complete score along with alternates and outtakes remastered from restored original 16 track masters, the original digital album master, and popular cover versions of the film’s love theme.
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