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That’s (ocean) bloom, a Radiohead and Hans Zimmer composition for BBC’s Blue Planet II series.
大家现在听到的是“(ocean) bloom”，是Radiohead乐队和汉斯·季默联手为BBC《蓝色星球II》系列纪录片打造的背景音乐。
It’s a lush, orchestral song that feels like the ebb and flow of the ocean.
这是一首恢弘而会让人联想到鹅卵石以及海涛的交响乐，
but it’s a rework of a 2011 Radiohead track that sounds a lot different.
但也是对Radiohead2011年那首同名单曲的一次全新演绎。
When Radiohead’s Thom Yorke first wrote Bloom, he was inspired by the original Blue Planet series from 2001.
乐队主唱Thom Yorke当初写“Bloom”时，灵感就来源于2001年上映的第一部《蓝色星球》。
The song turned out to be a complex mix of piano loops and syncopated drums.
写出来的这首Bloom原本有复杂的循环钢琴演奏和切分节奏的鼓点。
In 2017, the band was brought in to adapt that track for the Blue Planet sequel with composer Hans Zimmer.
2017年，乐队应邀和汉斯·季默联手将Bloom改编成《蓝色星球》系列纪录片的配乐。
This time, they were faced with a unique challenge:
这一次，他们遇到了一个非常特殊的问题：
How do you turn an experimental rock song into a soundtrack — for the ocean?
要怎么把一首实验摇滚歌曲改编成符合海洋气质的原声带音乐呢？
They found their inspiration in a painting technique in which small individual dots create a whole image.
一种绘画技巧给了他们的灵感，那就是用点绘画的技巧。
Pointillism, painting pointillism.
就是点画法，绘画里的点画法。
And started to talk about these ideas — I used to draw exactly that after going surfing, I would do exactly that.
我们就有了一些想法——我以前冲浪回来就会画那种画，真的。
Alright okay, so we were obviously, there seems to be a consensus here that we were on the right track.
好吧。总而言之，我们好像一致觉得我们找对方向了。
And we came over here, and we just started to do these gestures with the orchestra, these tiny little fragments of sound.
然后我们就过来和乐队试音，先做一个个的片段。
You know, just like sometimes it would be like light, sometimes it would be like little waves.
有的时候我们要表达的是光，有的时候是起伏不大的波浪。
And they sort of became the vocabulary for this.
这些小片段后来就成了现在那个原声的基础。
I think that was part of the idea — let's not just start with the tune, let’s start with figuring out a new technique.
在我看来，我们的做法概括起来差不多就是“先别管曲调，就从新的作曲技巧，
A new method of how to present whatever the notes are.
新的表现音符的方式开始着手。”
If you listen closely to the track, you can hear that method at work — it’s a trick they call the “tidal orchestra”.
如果大家仔细听这首曲子，就会发现这种办法确实管用。
This sound forms the base layer of the entire soundtrack — it’s always present.
这个声音构成了整首原声的基调，自始至终我们都能听到这个声音。
It creates a whole musical environment that’s built out of a single note.
它为整首音乐创造了一种氛围，而这种氛围仅仅是由一个音符变奏出来的。
Hans has done that before — the Joker Theme in The Dark Knight is just one stretched cello note.
在此之前汉斯就已经用过这种手法，《蝙蝠侠：黑暗骑士》里小丑的专用背景音乐就是由一个大提琴音符相继演奏出来的。
But that was just one instrument — here, you have an entire orchestra playing a single note -- and that was made possible because of one simple rule.
但那时汉斯只用了一种乐器，《蓝色星球2》则是整个交响乐队都来演奏一个音符，靠的就是一个简单的原则。
We instructed the players to not play at the same time when there was a long note.
遇到长音符的时候，我们就让乐手们从不同的时间起点开始演奏。
The conductor would say: “when the guy next to you is playing, don't play.”
指挥会告诉他们，“你旁边的人演奏时你就别动。”
You can hear this when you isolate the tidal orchestra track.
把管乐部分的音轨分离出来我们不难听出这种效果。
