Twilight Ost Song

[Bartie Spalitto]

Thesoundtrack was chosen by music supervisor Alexandra Patsavas;[4] while the score, Twilight: The Score, was composed by Carter Burwell.[5] The soundtrack album was released by Patsavas' Chop Shop label in conjunction with Atlantic Records.[6] It debuted at #1 on the Billboard 200, having sold about 165,000 copies in its first week of release, 29% of which were digital downloads.[7] Twilight: The Score was made available for digital download on November 25, 2008, and the album was released to stores on December 9, 2008.[8]

Twilight is the best-selling theatrical movie soundtrack in the United States since Chicago.[9] Both the soundtrack and the lead single, "Decode" by Paramore, were nominated for the 2010 Grammy Awards.[10]

Director Catherine Hardwicke revealed in an interview with MTV that a song by alternative rock band Muse, later revealed to be "Supermassive Black Hole", would be included on the film's soundtrack.[11] The soundtrack includes two songs by Paramore,[6] a new song by Mutemath, and an original song for the film by Perry Farrell.[12] "Flightless Bird, American Mouth" by Iron & Wine was chosen for inclusion in the movie by actress Kristen Stewart, who plays Bella Swan.[13] The soundtrack won a 2009 American Music Award for Favorite Soundtrack.[14]

The CD booklet on the physical CD folds out into one of four Twilight posters.[15] Hot Topic locations across the United States hosted exclusive Twilight soundtrack listening parties on October 24.[16] Albums bought at Borders bookstores feature an acoustic version of Paramore's "Decode".[17] Summit Entertainment provided a free remix of "Bella's Lullaby" through iTunes, with the purchase of a Twilight theatre ticket through online ticket services Fandango or MovieTickets.com.[18]

The soundtrack peaked at number one in New Zealand on February 9, 2009, and has been certified platinum, selling over 15,000 copies.[31][32] The album has been certified gold in Mexico, selling over 50,000 copies.[33][34]

Carter Burwell composed and orchestrated the score for Twilight over a 9- to 10-week period, and it was recorded and mixed in about 2 weeks in late September 2008.[84] He began the score with a "Love Theme" for Bella and Edward's relationship, a variation of which became "Bella's Lullaby" that Robert Pattinson plays in the film and that is included on the Twilight Original Motion Picture Soundtrack.[84] The original theme is featured throughout the film, and serves to "play the romance that drives the story".[84] Another theme Burwell composed was a "Predator Theme", which opens the film, and is intended to play Edward's vampire nature.[84] Other themes include a bass-line, drum beat and distorted guitar sound for the nomadic vampires, and a melody for the Cullen family.[84] Twilight: The Score was released digitally on November 25, 2008, and in stores on December 9.[8] The score album had sold 218,000 copies in the United States as of June 2010.[85]

This charming and haunting piece by Japanese composer Yoshinao Nakada blends eastern and western culture in musical form. A spacious right hand melody is hung over the steady, almost hypnotic pulse of left hand chords.

Separate hands practice is crucial in this piece. You want to achieve a sense of the melody floating over the left hand chords, almost as if the two parts are not connected. Follow the fingering as given for the right hand to allow the smoothest, most serene finger legato, and be careful not to land too heavily with the thumb: there should be some tailing off of sound at the end of each phrase. To achieve a beautiful singing sound in the right hand, imagine the fingers are stuck to the keys all the time, and keep the hand and forearm light. (I encourage students to actually check for lightness before they play and to continue to check as they are playing.)

In bar 3 a little crescendo and diminuendo will help shape the repeated figures. The chord and harmony changes in the left hand should also be as smooth as possible: keep the movements very small. Although a pedal marking is given, do not be tempted to try pedalling this piece until the left hand chords are learnt properly.

At bar 9, the music modulates (changes key) into F-sharp minor, and the mood becomes more plaintive, with the right hand figures, now higher in the register, emphasising the twilight atmosphere. Be sure to note the pianissimo marking in the repeat.

Frances Wilson is a classically-trained pianist, piano teacher and writer on pianism and classical music. She holds Licentiate and Associate Diplomas (both with Distinction) in Piano Performance, and is now based in West Dorset where she teaches from her home in Portland

To provide you with visual feast, below is a video I put together last year. The last half features twilight song, but not videotaped in the twilight. It just so happens that the twilight song pattern often occurs during aggressive encounters, or the case of my video, after performing a song playback to entice the male to come into view.

Carter Burwell has composed the music for more than 80 films, including No Country for Old Men, The Blind Side, and Where the Wild Things Are (for which he received a Golden Globe nomination), but it's a love story involving vampires that ended up being Burwell's most talked about project. We're talking, of course, about Twilight.

"Most of the films that I work on don't have that level of popularity," Burwell tells us. "I mean, I guess you could say pretty much all the films do not have that level of popularity. And also the appeal of the films that I do is to a completely different group." So, one could say he wasn't exactly prepared for the thousands of emails that overwhelmed his inbox after he wrote the instantly iconic (amongst Twihards) song, "Bella's Lullaby." Or that this song would become one that hundreds of teenagers would learn how to play on the piano. Burwell didn't expect a piece of instrumental music he composed to elicit a fangirl response, but then, weirder things have happened in Stephenie Meyer's world (like shimmering vampires and werewolves fighting for the love of a human, say).

In the Twilight universe, "Bella's Lullaby" is a song composed by Edward Cullen for Bella Swan. He often plays or hums it to her when she's falling asleep or has had a bad dream, but Burwell didn't create it with those motivations in mind. In fact, he'd already written it before he was even brought on to work on the film.

Ten years after the movie first premiered, Burwell still hears from fans, though not nearly as much as he used to. "I mean, it was a flood," he explains, but with the anniversary here, he might want to prepare his inbox again.

She sent me the script, and I knew nothing about the books at that point. I read the script, and I think my first reaction was that it didn't seem like my cup of tea [laughs]. You know, whether or not you think it's melodramatic, it's very romantic and completely sincere. There's no irony really in it. And it seemed like it would at least be very difficult for me, and I wasn't sure why Catherine was interested in me doing it. It seemed like other composers might be better. And she seemed to feel that I was wrong about this and that I was just a terrified person and she wanted to convince me, so she flew me out to Portland, Oregon, and showed me some of the footage and we talked about it some more. And she convinced me.

I knew a little of Kristen Stewart shortly before that. I don't know if Rob Pattinson had ever had a leading role, but she showed me some scenes that they had shot, and I could see that Catherine had gotten something special out of the actors. And she was certain that I would be able to bring something new to it. Something unexpected. And I have a lot of respect for Catherine as a director, so I decided to take her word for it.

[Laughs] Well, yes. The pressure only intensified over time. I don't think even some of the entertainment who were making the film really knew the depth of eagerness that this audience had for the film. I think the last book, I'm not sure when it came out, but it was around the time that we were making the film and the phenomenon was growing the entire time.

It hasn't changed for me, but, of course, it became something different. Something that's out of my hands and goes out into the world, it does become a bit different just in the sense that it now means something to all these other people, too. But for me, no it hasn't changed at all.

I think it's interesting because the soundtrack features everyone from Paramore to Linkin Park, yet this instrumental song is what really, to borrow a phrase from the book, "imprinted" on a bunch of teenagers. Did you expect it to resonate as much as it did?

I was surprised. It's not because I didn't think people would like that piece of music, but of all the films I had done, I had never gotten that direct response from fans. It's not typically like that being a film composer [laughs]. I'm very happy being sort of hidden from view and usually prefer to not even get involved in that relationship with these people I don't really know, I'm just a private person. But in the case of Twilight, there were so many e-mails, I mean thousands, from people who were mostly young and very sincere and they really wanted to know how to play "Bella's Lullaby" and things like that. I did try to answer them because I did feel like these people were serious and because the music means this thing to them.

I read the backstory that you wrote on your website a couple years ago about the song, and you mention a disagreement with one of the executives of the movie who I believe wanted to change the opening note. He didn't like that it started out sort of sad and said that teenage girls wanted a sweeter, simpler tune. You write that you thought that that was somewhat condescending, and I think the fact that the song was so popular kind of proves your point.

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