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There are many musical ideas and solo performances here that make the music unique and constantly interesting. The score for The Lion, The Witch, and The Wardrobe has more than just strong themes. This cue is both the climax and the highlight of the score. The best use of the theme is in the beginning of "The Battle" where it passes between the low brass and the trumpets in a repeated pattern backed by the choir. This theme begins to take over during the second part of the film when Aslan's army and the children unite to defeat the White Witch. Its first appearance is in "To Aslan's Camp" and the theme is normally performed by the brass in a triumphant or adventurous style. This is the Heroic theme, which is often used for Peter or Aslan. The second theme is similar in its note progression, but used in a completely different way. The first is the Children's Theme, which is used in almost every track on the album and in many forms, but mostly dominates the first half of the film. Tumnus" to the bright, upbeat statements of the themes in the final track, "Only the Beginning of the Adventure".īesides the Narnia theme, Harry Gregson-Williams wrote two other prominent themes for the film (in addition to multiple minor themes and motifs), both of which are used very frequently. To contrast the numerous musical idea sin the score, compare the electric violin-dominated "Lucy Meets Mr. As the film progresses from a quiet, frozen world to one of sunlit battlefields, the score blossoms into some truly amazing orchestral and choral music. Gregson-Williams created a soundscape for the land of Narnia that is instantly memorable and perfectly fitting. While influences from his past works such as Spy Game, Sinbad: Legend of the Seven Seas, Shrek, and especially Kingdom of Heaven, are evident in his latest effort, The Chronicles of Narnia takes off in a new direction. While The Lion, the Witch, and The Wardrobe is an adventure film and, do a degree, a children's film, Gregson-Williams' score is as far removed from the two genres he built his career onaction and animationas it could get. Additionally, each time it is played, Gregson-Williams alters the orchestration or the pattern of the theme, so it evolves with the film.
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The first full statement of the theme occurs in "The Wardrobe" when the land of Narnia is first seen. It is first introduced in "Evacuating London" during the main title sequence as a counter melody to Lisbeth Scott's vocals and the theme for the Pevensie children. The complex theme that represents the land of Narnia is used sparsely on the album, but each time, draws the listener's attention into the music this is not a theme that can be ignored. I first heard Harry Gregson-Williams' main theme for The Chronicles of Narnia: The Lion, The Witch and The Wardrobe a few months ago and was immediately taken into a world of magic, adventure, and wonder.