Track listing
- Thunder, Lightning, Rain [1:29]
- The Arrival of Duncan [0:48]
- A Blasted Heath [2:19]
- Thane of Cawdor (Macbeth's Theme) [1:29]
- A Careless Trifle [1:48]
- The Serpent Under't [1:47]
- The Moon Is Down (Heavy Summons) [1:39]
- Lady Macbeth [1:21]
- Whiles I Threat, He Lives [2:35]
- The Fatal Bellman [1:51]
- Incarnadine [2:15]
- Macbeth Shall Sleep No More [0:59]
- Bloody Murder [3:11]
- An Unfelt Sorrow (Malcolm's Theme) [1:59]
- King, Cawdor, Glamis, All / A Borrower of the Night [1:37]
- A Fruitless Crown [3:51]
- Nought's Had, All's Spent [2:31]
- Rain Comes Down (The Death of Banquo) [1:23]
- Banquet Ballad [1:59]
- The Ghost at the Feast [4:03]
- Stones and Trees [1:12]
- Macbeth's Theme (The Brows of Grace) [2:19]
- The Witches Three (Round About the Cauldron Go) [2:07]
- Something Wicked This Way Comes [3:23]
- Ghostly [5:35]
- What Is a Traitor? [1:51]
- Some Desolate Shade (Malcolm and Macduff, Part 1) [3:43]
- Blunt Not the Heart; Enrage It (Malcolm and Macduff, Part 2) [1:51]
- Out, Damned Spot [2:51]
- Fear Not, Macbeth [1:18]
- Macbeth's Wrack [1:51]
- Advance the War (Battle March) [2:35]
- Turn, Hell-hound, Turn! [3:03]
- The Friends We Miss [1:19]
- The Grace of Grace (Exuent) [2:03]
- Drums and Colours: Hail, King of Scotland! [1:35]
- Banquet's End (Bonus Track) [2:59]
- Malcolm, the Rightful Heir (Bonus Track) [1:59]
- Macbeth (Bonus Track) [3:35]
- The Arrival of Duncan (First Alternative) (Bonus Track) [0:59]
- The Arrival of Duncan (Second Alternative) (Bonus Track) [0:45]
- Devon Made: Macbeth - Piano Medley (Bonus Track) [9:43]
Devon Made: Macbeth is the third audiobook production from the Devon Made group and Diddy Films, following adaptations of A Christmas Carol and Alice in Wonderland. Macbeth brought together a larger cast of voice artists, including myself in the role of Malcolm, heir to Scotland. Recorded in August and September 2013, the audiobook was released to iTunes and other online venues on 25th January 2014.
I contributed a number of tracks for the project, as did They're Coming composer Dom Lee, and worked my compositions into a complete, chronological soundtrack to the story. Director Alex White requested a largely ambient underscore, although many of my tracks feature themes and motifs tying the cues together.
The score opens with the drums and dark ambiance of "Thunder, Lightning, Rain", and introduces the motif for Scotland in "The Arrival of Duncan" to marching drums. Two alternate, demo versions of this cue appear towards the end of the album. "A Blasted Heath" returns to the atmospheric material of track one. "Thane of Cawdor" introduces Macbeth's Theme, here appearing as a lament on strings, and played on flute in "The Moon Is Down". "The Serpent Under't" (track five) utilises instruments from Capital. Track seven establishes a motif and soundscape for Lady Macbeth, led by violin, which is reprised later in the score.
"Whiles I Threat, He Lives" underscores the dagger scene, including a slow statement of Macbeth's Theme in the track's latter half, and closes out with the summoning bells. Track nine, an extended album version of "The Fatal Bellman", picks up after track eight with high strings and low, distorted brass. "Incarnadine" accompanies Macbeth's dialogue with his wife, opening with a variation on Lady Macbeth's motif and closing with Macbeth's on strings and bassoon. This is followed by a short, tender lament for Macbeth (track eleven).
The bloody deed is discovered in "Murder", and appropriately gives a lamenting version of Duncan's Theme, which hereafter passes to his son and heir, Malcolm. The theme is given in full in "An Unfelt Sorrow", which also introduces a B-theme that will become predominantly associated with Malcolm throughout the remainder of the score. An alternate version of this track, joined by harp, appears as "The Rightful Heir" (track thirty-six). "King, Cawdor, Glamis, All" introduces the minor Murder Theme as Macbeth meets with the assassins, and rounds out with Malcolm's B-theme on English horn as talk turns to the heir of Scotland.
"A Fruitless Crown" is an extended adaptation of "Pain", a track from my score to The Guardsman (2013), here featuring brief snippets of Macbeth's Theme. The score returns to ambiance with "Nought's Had, All's Spent" and "Rain Comes Down", which transitions into a variation of the Murder Theme and war drums as Banquo meets his end. "Banquet Ballad" changes the pace with a soothing harp-and-guitar melody for Macbeth's feast. A slower, orchestral version of this track appears as "Banquet's End" later in the album. However, events turn dark with "The Ghost at the Feast", featuring a brass version of Macbeth's Theme before introducing more abstract sounds and circling woodwinds as the apparitions appear. The track ends with mellow harps and synths.
Track twenty introduces an alternate playing of Macbeth's Theme, titled "The Brows of Grace" and led by harpsichord. Ghostly soundscapes return in "The Witches Three", again featuring the looping woodwinds and joined by a bouncy melody inspired by john Williams' The Witches of Eastwick for the famous "Double, Double, Toil and Trouble" sequence. Act 4, Scene 1 continues with "Something Wicked This Way Comes", featuring airy pads and atmospheres and statements of the Macbeth and Murder themes. "Ghostly" is an extended ambient cue for the same sequence.
"What Is a Traitor?" opens with a brief statement of Macbeth's Theme and transitions into Lady Macbeth as she gives her counsel. The Scotland material returns in "Some Desolate Shade", presenting several melancholy versions of Malcolm's motifs as he and Macduff discuss their sorrows. The scene continues in "Blunt Not the Heart", adapted from "Post-Mortem" from Self-Control (2013) and closing with a resolute statement of Malcolm's Theme. "The Night Is Long" is an isolated melody associated with the scene.
Lady Macbeth faces her troubles in "Out, Damned Spot", featuring choir and dread-laden woodwinds surrounding her thematic material. The tide begins to turn in "Macbeth's Wrack", with powerful drum beats beneath triumphant statements of his theme. The battle begins in "Advance the War", with cello and bass propelling Malcolm's Theme as he marches upon Dunisnane, and Macbeth's Theme countering with a skewed statement. The glory of Scotland continues in "Drums and Colours", partly inspired by "This Is Gallifrey" by Murray Gold, featuring victorious versions of the two Scottish motifs. Combat is joined in "Turn, Hell-hound, Turn!", a dark action piece that brings about Macbeth's end.
The battle aftermath is discussed in "The Friends We Miss" and "The Grace of Grace", both concluding the score by rounding out Malcolm's Theme as he assumes the throne of Scotland. The album continues with a mixture of bonus tracks, including full playings of Macbeth's and Malcolm's Themes, demo cues, and alternate tracks. The final track is a nine-minute medley of score cues on piano, featuring material from "Thunder, Lightning, Rain", "The Brows of Grace", "Murder", "Drums and Colours", "The Ghost at the Feast", "Some Desolate Shade", "Advance the War", "The Grace of Grace" and the "Second Alternate" version of "The Arrival of Duncan".
I contributed a number of tracks for the project, as did They're Coming composer Dom Lee, and worked my compositions into a complete, chronological soundtrack to the story. Director Alex White requested a largely ambient underscore, although many of my tracks feature themes and motifs tying the cues together.
The score opens with the drums and dark ambiance of "Thunder, Lightning, Rain", and introduces the motif for Scotland in "The Arrival of Duncan" to marching drums. Two alternate, demo versions of this cue appear towards the end of the album. "A Blasted Heath" returns to the atmospheric material of track one. "Thane of Cawdor" introduces Macbeth's Theme, here appearing as a lament on strings, and played on flute in "The Moon Is Down". "The Serpent Under't" (track five) utilises instruments from Capital. Track seven establishes a motif and soundscape for Lady Macbeth, led by violin, which is reprised later in the score.
"Whiles I Threat, He Lives" underscores the dagger scene, including a slow statement of Macbeth's Theme in the track's latter half, and closes out with the summoning bells. Track nine, an extended album version of "The Fatal Bellman", picks up after track eight with high strings and low, distorted brass. "Incarnadine" accompanies Macbeth's dialogue with his wife, opening with a variation on Lady Macbeth's motif and closing with Macbeth's on strings and bassoon. This is followed by a short, tender lament for Macbeth (track eleven).
The bloody deed is discovered in "Murder", and appropriately gives a lamenting version of Duncan's Theme, which hereafter passes to his son and heir, Malcolm. The theme is given in full in "An Unfelt Sorrow", which also introduces a B-theme that will become predominantly associated with Malcolm throughout the remainder of the score. An alternate version of this track, joined by harp, appears as "The Rightful Heir" (track thirty-six). "King, Cawdor, Glamis, All" introduces the minor Murder Theme as Macbeth meets with the assassins, and rounds out with Malcolm's B-theme on English horn as talk turns to the heir of Scotland.
"A Fruitless Crown" is an extended adaptation of "Pain", a track from my score to The Guardsman (2013), here featuring brief snippets of Macbeth's Theme. The score returns to ambiance with "Nought's Had, All's Spent" and "Rain Comes Down", which transitions into a variation of the Murder Theme and war drums as Banquo meets his end. "Banquet Ballad" changes the pace with a soothing harp-and-guitar melody for Macbeth's feast. A slower, orchestral version of this track appears as "Banquet's End" later in the album. However, events turn dark with "The Ghost at the Feast", featuring a brass version of Macbeth's Theme before introducing more abstract sounds and circling woodwinds as the apparitions appear. The track ends with mellow harps and synths.
Track twenty introduces an alternate playing of Macbeth's Theme, titled "The Brows of Grace" and led by harpsichord. Ghostly soundscapes return in "The Witches Three", again featuring the looping woodwinds and joined by a bouncy melody inspired by john Williams' The Witches of Eastwick for the famous "Double, Double, Toil and Trouble" sequence. Act 4, Scene 1 continues with "Something Wicked This Way Comes", featuring airy pads and atmospheres and statements of the Macbeth and Murder themes. "Ghostly" is an extended ambient cue for the same sequence.
"What Is a Traitor?" opens with a brief statement of Macbeth's Theme and transitions into Lady Macbeth as she gives her counsel. The Scotland material returns in "Some Desolate Shade", presenting several melancholy versions of Malcolm's motifs as he and Macduff discuss their sorrows. The scene continues in "Blunt Not the Heart", adapted from "Post-Mortem" from Self-Control (2013) and closing with a resolute statement of Malcolm's Theme. "The Night Is Long" is an isolated melody associated with the scene.
Lady Macbeth faces her troubles in "Out, Damned Spot", featuring choir and dread-laden woodwinds surrounding her thematic material. The tide begins to turn in "Macbeth's Wrack", with powerful drum beats beneath triumphant statements of his theme. The battle begins in "Advance the War", with cello and bass propelling Malcolm's Theme as he marches upon Dunisnane, and Macbeth's Theme countering with a skewed statement. The glory of Scotland continues in "Drums and Colours", partly inspired by "This Is Gallifrey" by Murray Gold, featuring victorious versions of the two Scottish motifs. Combat is joined in "Turn, Hell-hound, Turn!", a dark action piece that brings about Macbeth's end.
The battle aftermath is discussed in "The Friends We Miss" and "The Grace of Grace", both concluding the score by rounding out Malcolm's Theme as he assumes the throne of Scotland. The album continues with a mixture of bonus tracks, including full playings of Macbeth's and Malcolm's Themes, demo cues, and alternate tracks. The final track is a nine-minute medley of score cues on piano, featuring material from "Thunder, Lightning, Rain", "The Brows of Grace", "Murder", "Drums and Colours", "The Ghost at the Feast", "Some Desolate Shade", "Advance the War", "The Grace of Grace" and the "Second Alternate" version of "The Arrival of Duncan".