Post-shadow Development Plan

This commercial soundtrack master is not inferior to ZUN in terms of talent and standard.

Except for "Magia" and "Connect", these two theme songs were asked by Hans Zimmer to restore the two theme songs according to Qiye's own memory.

All other soundtracks of "Madoka" were specially created by Hans Zimmer based on the movie plot and video materials provided by Qiye.

Generally speaking, the results of this commercial film soundtrack master fully meet Qiye's requirements.

But until now, Qiye still hasn't added the soundtrack to the film's later stage.

On the one hand, it was due to the progress of the work, and on the other hand, Qiye had some opinions on the version played.

From Qiye’s point of view, the current bands that make music for movies can’t bring out all the characteristics of Hans Zimmer’s music.

Although the song style of "Madoka" is somewhat similar to the memory of Qiye's previous life, Hans Zimmer also added his own understanding.

Especially in order to match the heavy plot of the movie, Hans Zimmer used a lot of depressing electronic sounds to highlight the tragedy of the fate of the girls.

When Hans Zimmer saw the script of the movie, he felt depressed about the madness in the story of "Little Dodo".

In his own words, "This is simply crazier than The Dark Knight."

Full of depressive feeling, it can be said to be the distinctive feature of the soundtrack of "Madoka".

Hans Zimmer used a very harmonious monophonic transposition, combined with an electronic synthesizer to produce a very weird musical effect.

This kind of music alone can directly stimulate people's hearing.

Not only that, Hans Zimmer also divided the soundtrack into three parts according to the theme of the movie.

Among them, for the witch, he used a lot of cool tones to create a dark atmosphere in the soundtrack.

Many discordant chords, almost crazy weird melodies, extremely rich electronic elements, coupled with high sound effects similar to the ancient Inquisition.

Such a variety of sound effects, through various combinations and collocations, eventually become ever-changing music clips.

These music will become the exclusive background sound of different witches.

Although there are not many original materials, after various variations and collocations, the soundtrack of these witches will not make people feel thin, but will make the emotions more full and real.

Qiye even felt that these music could become the material and argument for the audience to analyze each kind of witch in the future.

Then the other part is the soundtrack of magical girls.

This soundtrack is extremely gorgeous in order to match the fighting style of the girls.

I don't know if Hans Zimmer did it on purpose. This guy deliberately chose the violin as his main instrument.

This part of the music shows a powerful effect through the violin's non-stop marching of a sixteenth note skipping bow.

Cooperating with the sense of urgency created by the percussion instruments, it faintly creates a mood of instability and uneasiness.

This is to show the inner instability of the magical girls, and it also hints at their final tragic ending.

Of course, the soundtrack of magical girls is not just that.

As the most used BGM in battle scenes, pure tension will definitely make the audience's emotions unable to release after accumulation.

So Hans Zimmer added the long notes stretched out by the strings, so that people who hear the music have a refreshing feeling of passion being released.

Compared with the soundtrack of the witch, which gives people a heavy sense of precipitation, the soundtrack of the magical girls is a combination of electronic music and orchestral music, giving people a sense of modernity.

Although in terms of setting, witches should be the future of magical girls.

But such a music arrangement is not so abrupt.

Qiye and Hans Zimmer are the first cooperation.

But Qiye had listened to too many Hans Zimmer movie soundtracks in his previous life.

Therefore, Qiye clearly uses a large number of electronic sounds and the rapid transfer between orchestral music, which often appears in many works of Hans Zimmer.

This technique is very skillful. If you want to achieve the effect of the creator, you need to switch quickly when playing, so that it is not easy for the audience to notice.

This is why Qiye is dissatisfied with the current band.

As a traditional band, they did not do a good job in switching between electronic sound and orchestral music, which made people feel a strong sense of rupture.

In addition, the most special third part of the soundtrack is the exclusive soundtrack of Madoka Kame.

Hans Zimmer divided Yuan Xiang's soundtrack into two parts according to the plot of the story.

The first part is a beautiful piano solo, which is used to show Yuanxiang's originally peaceful and happy daily life.

However, even in the bright and joyous opening section, the piano melody of the soundtrack uses a series of cool notes.

Hans Zimmer intends to use this to imply that the protagonist Kame Madoka will experience a poignant story.

In the middle of the story, the variation of the magical girl is used for transition.

Among them, the percussion instrument part used to create a sense of unease has been significantly enhanced, in order to reflect Yuan Xiang's sense of confusion under the double pressure of facing the cruel reality and the QB's bewitching.

In the last part, from the moment Yuanxiang signed a contract with QB to become a magical girl, the music changed into another style.

In this soundtrack, Hans Zimmer adopts a combination of symphony and opera that he rarely uses.

In order to increase the divinity of Kame Madoka, he extensively drew on the characteristics of religious music from all over the world.

In the end, the tune of the religious epic level of the new century was carefully brewed.