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This demo presents three of the score's themes and motifs, concluding with an early version of "He's A Pirate" which differs from the final cue and includes a development of a melody Zimmer wrote for the score to Drop Zone. Zimmer said he wrote most of the tunes in the space of one night, and then recorded them in an all-synthesized demo credited to him.
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Zimmer however ended up collaborating with Badelt to write most of the score's primary themes. As a result, he referred Verbinski to Klaus Badelt, a relatively new composer who had been a part of Remote Control Productions (known as Media Ventures at the time) for three years. Zimmer declined to do the bulk of the composing, as he was busy scoring The Last Samurai, a project during which he claimed he had promised not to take any other assignments. However, due to creative differences between the producer Jerry Bruckheimer and him, Silvestri left the project and Gore Verbinski asked Hans Zimmer, with whom he had worked on The Ring, to step in. It closes with a threatening tremolo (1:13).Ĭomposer Alan Silvestri was originally hired to write the score for The Curse of the Black Pearl. It opens with the score's main action theme, then continues into the swashbuckling theme established in "The Black Pearl" (0:45). This track is played at the beginning of the credits. This track is played in the final scenes of the film. The beginning of the track plays when the curse is lifted and the pirates are beaten, and the end plays during their underwater march. The track opens with a menacing version of the cursed crew theme, which leads to the main theme heard in "He's a Pirate."ĭespite its name, taken from Pintel's line concerning William "Bootstrap Bill" Turner being tied to a cannon by his bootstraps, this cue is played during the battle of the Isla de Muerta between the Commodore Norrington and his soldiers of the Royal Navy against the Cursed crew, and the duel between Jack Sparrow and Hector Barbossa. The action part of this track sounds rather different in the film. The cue is played during the duel between Jack Sparrow and Hector Barbossa, and the aftermath of the destruction of Interceptor. This track is played when Elizabeth rescues the crew of the Black Pearl in the climactic battles of the film, and earlier in the film during Will and Elizabeth's conversation aboard Interceptor The track ends with an action piece, highlighting the very beginning of the climactic battle. The beginning is played when Jack and Elizabeth are marooned. The first part is played when Pintel & Ragetti reveal Bootstrap's story, while the track's latter part is played as Jack Sparrow and William Turner commandeer Interceptor from Port Royal. This track is used as the action cue for the chase between HMS Interceptor and Black Pearl. This track opens with a segue from "Swords Crossed", then it transitions to Jack and Will preparing to commandeer Interceptor. This track plays during Elizabeth's dinner with Barbossa, when she discovers the cursed pirates for the first time. This continues at a fast pace, building until the climax (02:04), where it drops off into "Swords Crossed".ĭespite the name, this track underscores the duel between Jack Sparrow and William Turner in the Blacksmith shop. The track segues in from "The Black Pearl" with a dramatic note, before rising into the film's main "swashbuckling" theme (00:05).
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The main theme appears elsewhere in the score, notably during "Will and Elizabeth". The cue starts with a sinister tune and then transfers into an exciting score with notable horns playing.ĭespite its title, the cue underscores Jack Sparrow's escape from James Norrington's marines in Port Royal. It dips into a mournful tune (00:57) before rising heroically (01:06) and ending the track with a waltzing melody.
#Pirates of the caribbean the curse of the black pearl free series
This gives way to Jack Sparrow's introductory theme (00:16), which is repeated throughout the film series as the character's leitmotif.
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The track begins as a segue from "Fog Bound", continuing the film's love theme. The theme reaches a suspenseful climax (approx 01:30) before leading into the film's love theme that continues until the end of the track, segueing directly into "The Medallion Calls". The track begins with a light cello jig before descending into a plodding, suspenseful theme (00:28) that incorporates woodwinds later used to denote the Black Pearl and its cursed crew.