Chords for Interstellar Music (Behind The Scenes) Hans Zimmer - Part 2

through this extra piece of magic _ and we got plenty of magic in [F] Roger. _ _ _ _
_ _ [Em] Roger was this sort of amazing human being that happened to [C] us.
[Am] _ _ _ _
_ _ [Em] This humble man who was just an extraordinary player.
[F] _ _ _ _ _
_ _ _ [Em] _ _ _ _ _
_ _ _ [Am] _ _ The organ hasn't been used in films before [Em] but you know for sort of horror moments and [F] for weddings
but to be the main driving [E] force of the soundtrack _
[Em] this was special.
_ [A] _ _
The organ really is a huge complicated synthesizer.
If you think about it you have a
pipe and air blows through it and that makes a sound and it makes the sound of one pitch _
then if you want to shift color you add another pipe to it and you add more pipes
and so it becomes these really very very complex harmonic structures _ and there was this endless
_ discovery going on for both Chris and me you know where Roger would take us through all these
different voicings and [N] all these different colors. _ _ _ _ _ _
Let me try something else.
_ _ _ Let's try this.
There's this one.
_ [Em] _ _
[Am] Oh that one that one that one.
_ Okay. _
Do you want to hear any more or are [Em] you happy?
Let's remember that but we do want to hear some more.
_ [Am] _ _ _
Okay let's find some others.
[F] _ _ _ _
_ _ _ _ [Em] _ _ _
He would play me [Am] the the sample and said well what have you got and I would give him a selection.
He said [G] oh that's a little too heavy or that's a little too bright or that's a little too [F] harsh.
You can even go a little darker.
[Em] _ _ Actually then we should go for this sound.
[Am] Once he began to realize what the capabilities of this organ [G] were he began to get more [F] adventurous
_ _ and we began to sort of [Em] create as we were going you know how about this and
yeah [Am] I like that that's good sort of thing but it's not what he had in [G] mind. _ _ _ _
_ _ _ [F] _ _ _ _ _
_ _ _ [Em] _ _ It's very physical because he has to move his [Am] arms to go and pull these stops out you know to
get the air to go into those [G] pipes.
He's crossing over his hands and he's pulling a thing out and
he's [F] doing the pedals and everything. _ _
It's super active.
[Em] _ _ _ _ _
_ Pulling out all the stops I now know what that expression means for real.
[Db] You can just hit that really low tone without playing [Abm] anything else [B] again.
_ [C] _ _ _ _ _
_ _ _ _ _ _ To [Bb] the purest of that. _ _ _
You mean [B] it goes low to that? _ _ _ _ _
_ _ More. _ _ _
It's soft.
_ [Bb] _ _ [A] You know this line.
[G] _ Oh that line. _ _ _
[F] _ _ The [E] power of the low notes [G] _ _ _ _ you feel [E] it in your solar plexus.
[A] _ _ _ The [Em] windows start rattling and they start bulging because there's so much
air being pushed into the [F] room. _ _ _ _ _ _
So [G] you have a primeval and really dangerous quality [Am] to it.
_ _ _ The thing is gonna blow. _ _ _ _
There's something very human [F] about it because it can only make a sound
with air and it needs [G] to breathe. _ _ _
On each note you hear the [Am] breath. _ _ _
_ You hear the exhale. _ _
You feel human [E] presence in every [F] sound. _ _
I think that was very important to [G] keeping the film about
not just the space that we're looking for the people [Am] in that space.
There's an intimacy to
the way he uses it as well [G] as massive scale.
Sometimes within a few bars there's that shift.
[F] _
_ _ _ _ I think it really helps [Am] orient the audience in terms of what the language of the film is because
the film is continually trying to contrast the individual in the particular with [F] the cosmic.
_ [Em] _ _ _ _
_ _ We [Am] poured the orchestra into this beautiful church
[F] _ _ _ _ _
_ _ _ [Em] and set them up amongst the effigies of the dead knights.
_ [Am] _ _ _ _
_ _ _ [G] _ _ _ _ _
_ _ _ [D] [Am] These architects weren't fools when they built these cathedrals.
I [Em] mean the acoustic inside
these places is staggering because [Am] it is supposed to impress.
It is supposed to take
you to other [G] worlds. _ _ _ _
_ _ _ [F] _ _ _ _ _
_ We [Em] didn't take pictures of this.
It's actually really an interesting exercise.
[Am] _ _ _ _ _
_ _ _ [G] Rather than reacting to what you're seeing in front of you right now,
[Am] _ the only way you can tell if a take with the orchestra is good [Em] or not is you have to recall
the scene and you have to make sure that the [Am] emotion that the orchestra has given you fits
with the emotion you [G] recall the first time you experience the scene yourself.
[F] _ _ _ _ _
_ _ _ [Em] _ _ _ _ _
_ _ _ _ _ _ _ _
_ Part of our sessions in London I would say how can we create the sound of a giant [A] metronome, _ _
[E] giant clock.
_ _ It's just figuring out what you can do with these beautiful violins and those
beautiful woodwinds that you weren't supposed to do. _ _ _ _
The strings, you know, hitting a string with
[Am] a pencil. _ _
_ _ _ _ [E] Basses, what happens when you just hit the side of your bass? _ _ _
_ _ _ _ _ Well, it sounds great,
let me tell you. _ _ _ _
_ The brass got to the idea rather than blowing through the thing,
they just hit their mouthpieces _ and just that air coming.
_ _ It's a very spooky sound.
_ _ _ We would do it with the choir.
[D] _ _ [E] _ _ _ _
[E] With the choir it became really tense because it became this
plaintive, nearly little cry, _ _ _ _ you know, lost in the wilderness type thing. _
_ _ _ Chris and I talked about being alone or being adrift.
_ _ _ [Em] _
_ _ I sort of play with false memory.
_ [B] The further away you go from earth, _ the tunes [E] aren't quite the same, you know, and they start
to corrode a little bit.
[Am] _ _ _ _ [Em] _
_ _ _ [B] _ _ They start to metamorphosize a little bit the way things do in memory. _
_ _ You _ _ _ _
_ _ _ [Bm] _ _ _ _
know, the further you get away [B] from the moment that something happened, the idea that
things shift a little bit. _ _ _
[Bm] _ _ _ [Em] _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ [E] And, okay, what would it sound like if we now try to imitate, synthesize,
you know, with human beings and real instruments, wind, sound of nature? _ _
_ _ So breathe it in and breathe it out. _
_ _ _ So again, the further you get away from earth,
_ _ somehow the [Gbm] organic nature of the instruments remind you of everything you could potentially
lose.
[Am] _ _ _ _ [C] _
_ _ _ _ This score about science is all made [Bm] with [C] wood and organic and real people playing.
_ _ [Dm] _ _
[F] That was really important to us.
_ _ It comes [C] as well from this idea, Chris shoots [D] on film. _ _
[C] Shooting on film is akin [Dm] to me using a real organ [Am] or a real violin as opposed [F] to the computer
_ digital [Gb] simulation of it. _ _
_ [C] _ _ _ _ _ _ _
_ _ _ _ _ At the end of the day, we [Bb] speak with one voice.
And all I become is a [E] translator in a way for his language and for his vision. _
_ [Am] _ _ _ _ _ _ _
_ [E] _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ [Em] _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _