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About Summon the Worm
Summon the Worm is a song composed by American producer, conductor, and composer Brian Tyler. Summon the Worm, from Children of Dune, was also featured as the leader for the show Peking Express – a Belgian/Dutch production. It was also featured on the promotional reel of The Golden Compass in 2007. Tyler has composed songs for a number of American movies. These include Rambo, The Lazarus Project, and Eagle Eye. He also composed music for Fast and Furious, Middle Men, The Final Destination, and Drangonball Evolution.
The following is an excerpt of a Children of Dune review published by Filmtracks.com. The review discusses Tyler’s Summon the Worm.
One creative aspect of Tyler’s score that requires special notice is his tip of the hat when various scenes in “Children of Dune” discuss the topic of events that occurred in the first novel, and especially in scenes involving Paul. Here, Tyler inserts progressions in his deep bass string performances that remind strongly of Toto’s title theme for Dune. While this similarity could possibly be coincidental given how common the usage of ascending minor thirds can be in such situations, it’s hard to believe that Tyler (who has shown the ability to reference previous franchise themes and styles in subsequent works) didn’t insert these ideas with specific referential intent in cues like “Dune Messiah” and “Sign of the Bene Gesserit.”
As mentioned before, Tyler’s music also seems to take a few cues from other established composers; the Lady Jessica theme, especially as she arrives on Arrakis, is an interesting meld of themes from Goldsmith’s Hoosiers and John Barry’s Cry, the Beloved Country. The Middle-Eastern elements, centered around the duduk, are very similar to the tone often employed by the master of such music, Mychael Danna. This probably wasn’t intentional on Tyler’s part, but it shows the kind of influences from which he was working. On the lengthy album release, 36 of his 174 cues are presented, largely out of order but in a good sequence for listening.
All pertinent cues of significant length in the film are included, spanning most of the styles and themes equally. The elegant themes for the full ensemble are presented at the front, with more of Leto’s guitar and percussion music presented in the latter half. The product was an overwhelming success for Varèse Sarabande, so much so that the label’s original pressing of the CD sold out within a week after the show’s first airing. And there was good reason for this success; Tyler’s music is among the best television scores to hit the air waves in the history of the medium, better even than Lee Holdridge’s “The Mists of Avalon” a few years before (another album that kept Varèse on solid financial footing). —Filmtracks.com.
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