When Does The Last Episode Of Outlander Airtime

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When Does The Last Episode Of Outlander Air Dates

Bear Mc. Creary – Official site. Outlander, the epic new series from Ronald D. Moore based on Diana Gabaldon’s epic novels, is a project that combines many of my passions. I get to score a sweeping narrative, collaborate with world- class musicians, and integrate the Scottish instrumentation and folk music I’ve adored my whole life.

In the coming weeks I will write about my creative process scoring each episode of this incredible series. For those new to my blog, I tend to get into pretty intense musical detail regarding themes, composition, orchestration, performance and history. I hope that this blog can be a resource as you journey through the series, highlighting the musical threads that guide the story.

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SPOILERS AHEAD: For the uninitiated, Outlander follows Claire, a WWII nurse who accidentally travels through time from 1. Scotland in 1. 74. From the beginning, I wanted to draw predominantly from Scottish instrumentation and folk music. Instruments such as the fiddle, bagpipes, accordion, penny whistle, accordion and bodhr. She is clearly speaking from the future, looking back on her experiences, so I wanted the music to add a sense of wisdom and longing. The score begins with a low sustained D in the orchestral basses and celli, before a combination of bagpipe drones and fiddle enter with haunting, yet distinctly Scottish, drones. The opening cue carries us from the first frame of the series, directly to the Main Title.

Along the way, we meet Claire in present day Inverness, and flashback to her final day of the war. These images are underscored with a dreamy orchestral presence, meant to give the sensation that this is all a preamble to a larger story. As Claire realizes that the war is over and takes a well- earned swig on the champagne someone thrust into her hand, a penny whistle offers our first glimpse of what will become the Claire and Jamie Theme: I’ve already been asked by astute fans why I placed this theme here, before she’s ever met Jamie. My hope was to convey the notion that we’re witnessing this event from the perspective of “Voice Over Claire,” a Claire who’s already gone on this journey and is now looking back on it, to share it with us. The Claire in the voice over has already met Jamie, and is reflecting on this moment as the beginning of her journey that would lead her to him.

Furthermore, I could have easily filled this space with triumphant, swelling brass, celebrating the victory for the Allies. But, this story is not about the war, its about Claire. I hope the score helps the viewer focus their attention on the woman in the midst of all this jubilant energy. The Claire and Jamie Theme will develop later in the episode, and I will discuss it in further detail then. This scene also features one of my favorite orchestral passages in the series thus far. The larger strings fill out the lush harmonies behind the penny whistle, while a smaller string ensemble within them counters with a gently leaping arpeggiated figure: The figure should feel energetic, but I asked the string players to play as gently as possible, resulting in a gentle, rocking texture that almost feels like a lullaby. This cue leads directly into the Main Title sequence of Outlander: my adaptation of my favorite Scottish folk tune, “The Skye Boat Song.”I’ve always adored this piece, and felt its well known lyrical connection to the Jacobite Uprising would make it appropriate for this show.

I struggled to connected with the famous lyrics by Sir H. Boulton, however. Thankfully, vocalist Raya Yarbrough recalled another set of lyrics by Robert Louis Stevenson. These are much better suited to Claire’s story, and after we altered a few consonants to change the gender of the speaker, they connected even more directly. Still Breathing Full Movie Part 1.

Raya Yarbrough, the voice of our Main Title, has sung for me on many projects, dating back to before the Battlestar days. Rizzoli And Isles Season 4 Online. She and I recently performed together at the Outlander premiere, and she debuted my new Battlestar Galactica suite last week at the Hollywood Bowl (all of this after giving birth to our first child less than two months ago, I might add!). Her voice has contributed substantially to The Walking Dead, Agents of S. H. I. E. L. D., Da Vinci’s Demons and many more projects. Watch Harder They Fall HIGH Quality Definitons.

If you want to get to know her a little better, check out her two albums on i. Tunes: her debut self- titled album from Telarc / Concord, and the intimate holiday EP I co- produced with her. Ron Moore and I originally intended to feature an instrumental Main Title.

I’ve actually never composed a Main Title theme that featured lyrics before, so the idea wasn’t really on my radar in a serious way. After a little experimentation in my studio, I decided to bring Raya in to see how this melody would sound with lyrics. Immediately, I could tell her uniquely timeless vocal quality would bring something special to Outlander, and Ron Moore and the other producers immediately agreed. I’m thrilled to say that The Outlander Main Title is available now as a digital download from i. Tunes and other digital retailers! After the extended prologue and Main Title, we dive into the real narrative, beginning with Claire and Frank in 1. This episode is unique because we spend most of our time in the Forties, coming to know Claire’s relationship with Frank before she is whisked away through time.

With half the episode dedicated to exploring his relationship with Claire, I knew Frank would need a theme of his own. Frank is a British officer, and a likable, if not passionate, man. I wanted to represent him in a distinct way, to differentiate him from the Scottish aspects of the score. I listened to the works of my favorite English composers Ralph Vaughan Williams, Gustav Holst and Benjamin Britten, who frequently incorporated English folk songs into their orchestral compositions, songs that have a harmonic and instrumental quality distinct from Scottish music.

I also wanted Frank to have an instrument unique to him. I selected the clarinet, because it evokes a gentrified sensibility that could stand apart from the rugged, reedy textures of the Scottish folk instruments. At last, I wrote the Frank Theme: Frank’s Theme is featured prominently throughout the first episode, along with lush harmonies in the strings and concert woodwinds that evoke the writings of my favorite British composers. His scenes with Claire needed to tell their own smaller story within the larger framework of the series: he and Claire are awkward around each other at first, and gradually become more intimate as the episode progresses. The score for their scenes is always romantic, even though the sex (in particular a scene in the overgrown ruins of Castle Leoch!) gets quite steamy.

The function of these scenes was to establish a relationship with Frank strong enough to sustain tension for the rest of the season. I always used the score in their scenes together to suggest a deep, meaningful bond between them. The audience must believe they have a genuine connection for this series to work, so I knew where I needed to focus the music.

The Frank Theme sustains much of the score in the first thirty minutes of the episode. A new theme, however, is introduced about halfway through that may prove to be even more important.

This theme is first hinted at when Mrs. Graham reads Claire’s palm and discusses her future, in a subtle duet for Celtic harp and concert flute.

The theme takes center stage, however, when Claire and Frank witness the dance of the Druids at the stones. This scene is a pivotal one for the series, and for fans of the novels, so I knew it had to be perfect. Ron crafted the scene in such a way to leave me space for a featured piece of music, one that might straddle the line between score and source. The dancers presumably were hearing some sort of music, to guide their motions, so I wanted to honor the notion that they may have been singing, while simultaneously playing the scene from Claire’s perspective, to acknowledge the profound impact the moment had on her.