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"Crescendo" means "getting louder". "Rising crescendo" is redundant.
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* "Gurney Battle" contains a rising crescendo of bagpipes, harkening back to the Atreides arrival on Arrakis, but this time we see the Atreides banner flying behind Gurney Halleck as he ''tears'' through Harkonnen troops, compressing a RoaringRampageOfRevenge into thirty seconds of film time.
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* "Gurney Battle" contains a rising crescendo of bagpipes, harkening back to the Atreides arrival on Arrakis, but this time we see the Atreides banner flying behind Gurney Halleck as he ''tears'' through Harkonnen troops, compressing a RoaringRampageOfRevenge into thirty seconds of film time.
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Added example(s)
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* "Gurney Battle" contains a rising crescendo of bagpipes, harkening back to the Atreides arrival on Arrakis, but this time we see the Atreides banner flying behind Gurney Halleck as he ''tears'' through Harkonnen troops, compressing a RoaringRampageOfRevenge into thirty seconds of film time.
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None
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* [[https://www.youtube.com/watch?v=iPypPemhFls "Arrival"]] serves as an appropriate {{Leitmotif}} for Paul's transformation from the idealistic scion of House Atreides he once was into a well-intentioned but ruthless DarkMessiah after he embraces his destiny, letting the audience know that Paul is ''not'' someone to mess with now that the kid gloves are off.
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* [[https://www.youtube.com/watch?v=iPypPemhFls "Arrival"]] serves as an appropriate {{Leitmotif}} for Paul's transformation from the idealistic scion of House Atreides he once was into a well-intentioned but ruthless DarkMessiah after he embraces his destiny, letting the audience know that Paul is ''not'' someone to mess with now that the kid gloves are off. It also makes his BigEntrance at the Fremen leaders' gathering even more epic.
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SugarWiki/AwesomeMusic in Creator/DenisVilleneuve's [[Film/{{Dune|2021}} 2021]]-[[Film/DunePartTwo 2024]] film adaptation of ''Literature/{{Dune}}'' is a given, considering that Music/HansZimmer wrote it. [[PromotedFanboy Zimmer's passion for the books]] meant that he wrote no less than ''three'' soundtrack albums for the first film alone. In an interview, Villeneuve noted that Zimmer was ''still'' in a frenzy of writing music for the films after ''Part Two'' came out.
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SugarWiki/AwesomeMusic in Creator/DenisVilleneuve's [[Film/{{Dune|2021}} 2021]]-[[Film/DunePartTwo 2024]] film adaptation of ''Literature/{{Dune}}'' is a given, considering that Music/HansZimmer wrote it. [[PromotedFanboy Zimmer's passion for the books]] meant that he wrote no less than ''three'' soundtrack albums for the first film alone. In an interview, Villeneuve noted that Zimmer was ''still'' in a frenzy of writing music for the two films after ''Part Two'' came out.
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None
Changed line(s) 1 (click to see context) from:
SugarWiki/AwesomeMusic in Creator/DenisVilleneuve's [[Film/{{Dune|2021}} 2021]]-[[Film/DunePartTwo 2024]] film adaptation of ''Literature/{{Dune}}'' is a given, considering that Music/HansZimmer wrote it. [[PromotedFanboy Zimmer's passion for the books]] meant that he wrote no less than ''three'' soundtrack albums for the first film alone.
to:
SugarWiki/AwesomeMusic in Creator/DenisVilleneuve's [[Film/{{Dune|2021}} 2021]]-[[Film/DunePartTwo 2024]] film adaptation of ''Literature/{{Dune}}'' is a given, considering that Music/HansZimmer wrote it. [[PromotedFanboy Zimmer's passion for the books]] meant that he wrote no less than ''three'' soundtrack albums for the first film alone. In an interview, Villeneuve noted that Zimmer was ''still'' in a frenzy of writing music for the films after ''Part Two'' came out.
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* Perhaps the darkest reprise of "Holy War", "Southern Messiah" hammers home the implacable steamroller of fanaticism that Paul is unleashing.
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* "Kiss the Ring" plays over the final scene. An understated and mournful song for a victory that will only lead to more horrors as the Holy War begins.
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* "Kiss the Ring" plays over the final scene. An understated and mournful song for a [[BittersweetEnding victory that will only lead to more horrors horrors]] as the Holy War begins.
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* The end credits theme [[https://www.youtube.com/watch?v=gxixCMsq778 "Grains of Sand"]], co-composed by fellow German composer and ''Dune'' fan Music/KlausSchulze, serves as an epic conclusion to both the film and the latter's career, as Schulze died of renal failure shortly before the film's release.
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* The end credits theme [[https://www.youtube.com/watch?v=gxixCMsq778 "Grains of Sand"]], co-composed by fellow German composer and ''Dune'' fan Music/KlausSchulze, serves as an epic conclusion to both the film and [[SwanSong the latter's career, career]], as Schulze died of renal failure shortly before a few months after the film's release.
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Changed line(s) 18 (click to see context) from:
* [[https://www.youtube.com/watch?v=iPypPemhFls "Arrival"]] serves as an appropriate {{Leitmotif}} for Paul's transformation from the idealistic scion of House Atreides he once was into a well-intentioned but ruthless DarkMessiah after he embraces his destiny.
to:
* [[https://www.youtube.com/watch?v=iPypPemhFls "Arrival"]] serves as an appropriate {{Leitmotif}} for Paul's transformation from the idealistic scion of House Atreides he once was into a well-intentioned but ruthless DarkMessiah after he embraces his destiny.destiny, letting the audience know that Paul is ''not'' someone to mess with now that the kid gloves are off.
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None
Changed line(s) 18 (click to see context) from:
* [[https://www.youtube.com/watch?v=iPypPemhFls "Arrival"]] serves as an appropriate {{Leitmotif}} for Paul's transformation from the idealistic scion of House Atriedes he once was into a well-intentioned but ruthless DarkMessiah after he embraces his destiny.
to:
* [[https://www.youtube.com/watch?v=iPypPemhFls "Arrival"]] serves as an appropriate {{Leitmotif}} for Paul's transformation from the idealistic scion of House Atriedes Atreides he once was into a well-intentioned but ruthless DarkMessiah after he embraces his destiny.
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None
Changed line(s) 18 (click to see context) from:
* [[https://www.youtube.com/watch?v=iPypPemhFls "Arrival"]] serves as an appropriate {{Leitmotif}} for Paul's transformation from the idealistic scion of House Atriedes he once was into the well-intentioned but ruthless DarkMessiah.
to:
* [[https://www.youtube.com/watch?v=iPypPemhFls "Arrival"]] serves as an appropriate {{Leitmotif}} for Paul's transformation from the idealistic scion of House Atriedes he once was into the a well-intentioned but ruthless DarkMessiah.DarkMessiah after he embraces his destiny.
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None
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* [[https://www.youtube.com/watch?v=iPypPemhFls "Arrival"]] serves as an appropriate {{Leitmotif}} for Paul's transformation from the idealistic scion of House Atriedes he once was into the well-intentioned but ruthless DarkMessiah.
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None
Added DiffLines:
SugarWiki/AwesomeMusic in Creator/DenisVilleneuve's [[Film/{{Dune|2021}} 2021]]-[[Film/DunePartTwo 2024]] film adaptation of ''Literature/{{Dune}}'' is a given, considering that Music/HansZimmer wrote it. [[PromotedFanboy Zimmer's passion for the books]] meant that he wrote no less than ''three'' soundtrack albums for the first film alone.
----
[[AC:''Dune: Part One'']]
* The first trailer concludes with an [[https://www.youtube.com/watch?v=rm6Dncay7Bg epic choral cover]] of "Eclipse" from Music/PinkFloyd's ''Music/TheDarkSideOfTheMoon''.
* Two tracks, [[https://www.youtube.com/watch?v=BdtiYwSP9ko "Paul's Dream"]] and [[https://www.youtube.com/watch?v=AgzE2TeXCl0 "Ripples in the Sand"]], were released early, and offered a taste of the thunderous chanting and choral voices that would define the music for the movie. "Paul's Dream" is reprised to great effect in the trailer for ''Film/DunePartTwo'', mixed with a slower version of the Bene Gesserit's dark ethereal chanting.
* From the sketchbook album (created as extended explorations of ideas for the final score), the [[https://www.youtube.com/watch?v=44GwH-KUFEc House Atreides theme]], with bagpipes and a booming orchestration, is a perfect fit for a regal ruling house, but with a melancholy undertone that hints at the Atreides' tragic fall. Meanwhile, [[https://www.youtube.com/watch?v=xVpK6rPUVEQ "Song of the Sisters"]] uses massed female voices to signify the Bene Gesserit, shifting from eerie whispers to practically shouted chants, turning the distinctively human instrument of the voice into something alien.
* The main score has plenty of great moments, such as the vocal motif of "Song of the Sisters" being developed into the shorter but ever-so-CreepyAwesome [[https://www.youtube.com/watch?v=SqL6lAHzqII "Bene Gesserit"]], and the triumphant-but-mournful [[https://www.youtube.com/watch?v=T0P6YDveLsM "Leaving Caladan"]], which builds as the Atreides prepare to venture to Arrakis.
* [[https://www.youtube.com/watch?v=9NaQItWOJCk "Arrakeen"]] uses a purposeful drum-roll motif which recalls the sound of ornithopter wings; the motif is also linked to the Harkonnens (playing over the scene introducing them), adding an undertone to danger as the heroes enter the city.
* [[https://www.youtube.com/watch?v=U8HzOPVIqaU "Armada"]] blends multiple leitmotifs from the score; it opens with female voices that hint at the Bene Gesserit's manipulations that have led to the Harkonnens' attack, a ThemeMusicPowerUp with the Atreides bagpipes as Gurney rallies his troops and charges into battle, and the unearthly growl of the Sardaukar throat-singing that accompanies their arrival to slaughter the Atreides forces.
* [[https://www.youtube.com/watch?v=_Pl62DVJMIY "Blood for Blood"]] is pure musical TearJerker; playing over Leto's death, the choral voices that come in during the middle evoke a funeral chant, culminating in a chilling shriek.
* The film ends with [[https://www.youtube.com/watch?v=PhfgN9sq5Xs this track]], reprising the motif from "Leaving Caladan" with the musical textures associated with Arrakis, signalling the next stage of Paul's journey away from home as he joins the Fremen.
* The [[MemeticMutation meme-worthy]] [[https://www.youtube.com/watch?v=p-DxG4R8bc4 Sardaukar muezzin chant]] is an otherworldly-sounding, bass-filled song that perfectly sets the tone for the Sardaukar's introductory scene on Salusa Sucundus.
* The end credits theme [[https://www.youtube.com/watch?v=gxixCMsq778 "Grains of Sand"]], co-composed by fellow German composer and ''Dune'' fan Music/KlausSchulze, serves as an epic conclusion to both the film and the latter's career, as Schulze died of renal failure shortly before the film's release.
[[AC:''Dune: Part Two'']]
* [[https://youtu.be/ZokzN16Fe1M "Water of Life"]] is fitting for Jessica's ritual in becoming the Reverend Mother of the Fremen. It begins with female chants and whispers that sounds otherworldly, before growing in intensity as the water affects her body. The music then reaches the apex to emphasize both Jessica and her unborn daughter's EyeAwaken, revealing their blue eyes of Ibad, along with their growing power, and the [[MyGodWhatHaveIDone horror in her predecessor's face.]]
* "Harkonnen Arena" is appropriately grand and sinister for Feyd-Rautha's BigEntrance and the rousing and bloodthirsty Harkonnen crowd in the arena.
* "Kiss the Ring" plays over the final scene. An understated and mournful song for a victory that will only lead to more horrors as the Holy War begins.
----
->''"Listen, you wanted a progressive rock score, and you got one!"''
-->--Hans Zimmer
----
----
[[AC:''Dune: Part One'']]
* The first trailer concludes with an [[https://www.youtube.com/watch?v=rm6Dncay7Bg epic choral cover]] of "Eclipse" from Music/PinkFloyd's ''Music/TheDarkSideOfTheMoon''.
* Two tracks, [[https://www.youtube.com/watch?v=BdtiYwSP9ko "Paul's Dream"]] and [[https://www.youtube.com/watch?v=AgzE2TeXCl0 "Ripples in the Sand"]], were released early, and offered a taste of the thunderous chanting and choral voices that would define the music for the movie. "Paul's Dream" is reprised to great effect in the trailer for ''Film/DunePartTwo'', mixed with a slower version of the Bene Gesserit's dark ethereal chanting.
* From the sketchbook album (created as extended explorations of ideas for the final score), the [[https://www.youtube.com/watch?v=44GwH-KUFEc House Atreides theme]], with bagpipes and a booming orchestration, is a perfect fit for a regal ruling house, but with a melancholy undertone that hints at the Atreides' tragic fall. Meanwhile, [[https://www.youtube.com/watch?v=xVpK6rPUVEQ "Song of the Sisters"]] uses massed female voices to signify the Bene Gesserit, shifting from eerie whispers to practically shouted chants, turning the distinctively human instrument of the voice into something alien.
* The main score has plenty of great moments, such as the vocal motif of "Song of the Sisters" being developed into the shorter but ever-so-CreepyAwesome [[https://www.youtube.com/watch?v=SqL6lAHzqII "Bene Gesserit"]], and the triumphant-but-mournful [[https://www.youtube.com/watch?v=T0P6YDveLsM "Leaving Caladan"]], which builds as the Atreides prepare to venture to Arrakis.
* [[https://www.youtube.com/watch?v=9NaQItWOJCk "Arrakeen"]] uses a purposeful drum-roll motif which recalls the sound of ornithopter wings; the motif is also linked to the Harkonnens (playing over the scene introducing them), adding an undertone to danger as the heroes enter the city.
* [[https://www.youtube.com/watch?v=U8HzOPVIqaU "Armada"]] blends multiple leitmotifs from the score; it opens with female voices that hint at the Bene Gesserit's manipulations that have led to the Harkonnens' attack, a ThemeMusicPowerUp with the Atreides bagpipes as Gurney rallies his troops and charges into battle, and the unearthly growl of the Sardaukar throat-singing that accompanies their arrival to slaughter the Atreides forces.
* [[https://www.youtube.com/watch?v=_Pl62DVJMIY "Blood for Blood"]] is pure musical TearJerker; playing over Leto's death, the choral voices that come in during the middle evoke a funeral chant, culminating in a chilling shriek.
* The film ends with [[https://www.youtube.com/watch?v=PhfgN9sq5Xs this track]], reprising the motif from "Leaving Caladan" with the musical textures associated with Arrakis, signalling the next stage of Paul's journey away from home as he joins the Fremen.
* The [[MemeticMutation meme-worthy]] [[https://www.youtube.com/watch?v=p-DxG4R8bc4 Sardaukar muezzin chant]] is an otherworldly-sounding, bass-filled song that perfectly sets the tone for the Sardaukar's introductory scene on Salusa Sucundus.
* The end credits theme [[https://www.youtube.com/watch?v=gxixCMsq778 "Grains of Sand"]], co-composed by fellow German composer and ''Dune'' fan Music/KlausSchulze, serves as an epic conclusion to both the film and the latter's career, as Schulze died of renal failure shortly before the film's release.
[[AC:''Dune: Part Two'']]
* [[https://youtu.be/ZokzN16Fe1M "Water of Life"]] is fitting for Jessica's ritual in becoming the Reverend Mother of the Fremen. It begins with female chants and whispers that sounds otherworldly, before growing in intensity as the water affects her body. The music then reaches the apex to emphasize both Jessica and her unborn daughter's EyeAwaken, revealing their blue eyes of Ibad, along with their growing power, and the [[MyGodWhatHaveIDone horror in her predecessor's face.]]
* "Harkonnen Arena" is appropriately grand and sinister for Feyd-Rautha's BigEntrance and the rousing and bloodthirsty Harkonnen crowd in the arena.
* "Kiss the Ring" plays over the final scene. An understated and mournful song for a victory that will only lead to more horrors as the Holy War begins.
----
->''"Listen, you wanted a progressive rock score, and you got one!"''
-->--Hans Zimmer
----
