Outlander Гјbersetzung singlebГ¶rse rheinbach
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After I have completed the BEES manuscript, a lot of things have to happen with my publishers before it is printed, released, and on the bookshelves for you to buy.
Read more at:. What Finished Means To An Author, my blog entry from August 3, , which also has a flow chart of the multiple steps necessary to publish a book once the manuscript is completed.
The images above on this page show an ancient Egyptian amulet with a bee hieroglyph. Ancient Egyptians were the first documented beekeepers in human history, dating to 5, years ago.
Iconic Scottish snare drums sneak in behind her voice, providing a distinctly militaristic feeling. For the final chorus, I replaced the moving bassline with a steady drone in the low strings and bagpipes.
This gives the final chorus a distinctly Scottish feeling, evoking the pedal-tone drones of military bagpipe bands. The instrumentation is predominantly the same, but the emotional impact of this harmonic change is intense.
This main title sequence prepares us for war. I felt the Jacobite uprising story arc should be represented with a theme drawn from folk music of the era.
Jacobite history is rich with famous folk songs. None of these songs would have been appropriate for these episodes, because the story takes place during a brief historical time of rousing optimism.
To properly underscore these episodes, I needed a song that was written during the Jacobite uprising as opposed to after it, a song that makes no comment about loss, only promises of victory.
I turned to famed Scottish composer and music historian John Purser, who was gracious with his time and assembled a collection a historically-accurate songs for me.
A celebrated poet of the Jacobite era, Alasdair composed this song upon hearing the news that Prince Charles Edward Stuart had landed at Glenfinnan.
That was perfect! Hug ho ill a ill o Hug ho o ro naill i Hug ho ill a ill o Seinn oho ro naill i. I knew the song would require a vocalist.
I tracked down an inspiring Gaelic singer named Griogair Labhruidh. I was struck by the power in his voice, which was both contemporary and traditional.
This relatively rare song did not survive in mainstream memory as effectively as others from its era, perhaps because it originated in that brief window of history when Scots really believed this uprising could succeed.
For that reason, I felt using it here made Outlander even more authentic. I wanted to capture that feeling by featuring male vocals in the soundtrack.
Songs like this therefore only survived in the most remote regions of Gaelic Scotland or were otherwise appropriated by the bourgeoisie of the Anglicised Highlands and denatured by their passage through a musical system which was completely alien to the free flowing, ornamented and non Western rhythms of the natural Gaelic music of Scotland.
I did, however, make several musical changes to shape the song to fit the needs of the series, perhaps bending a few rules along the way.
I was also very pleased to work with my friend John Purser who helped direct my performance of the song to suit the arrangement.
This is quite a common occurrence as there is no such thing as standardization in Gaelic traditional music. Our music is much like modal jazz in that sense and involves a lot of improvisation.
All the decorations and irregular rhythms I used in the performance were all improvised round the theme melody. I was thrilled to work with Griogair and to bring his unique voice to my score.
I was especially grateful for his enthusiasm for the material. My score, too, calls back to the premiere episode with an increased orchestral presence, and richer, more contemporary romantic writing.
The narrative leaps back and forth between two centuries, with different tones in each storyline. This required a backdrop of Scottish instrumentation and a relentlessly accelerating percussive spine that peaked in the soaring emotional farewell at the stones.
This storyline required a more subdued approach, leaning more towards orchestra than folk instruments. She discovers her own identity in this episode.
Now that she knows who she is, I am confident I will find opportunity to compose an original theme for her next season.