This track is made up of real instruments performed and recorded by real players. Only a few virtual instruments were used.

Orchestra Conducted by: Matthew Pablo
Studio Engineers: Garret Reynolds & Joe Ulmer
Mixed & Mastered: Matthew Pablo

Live orchestral session players:
Violins - Steve Chiu
Cellos - Ro Rowan
Contrabasses - Nathan Jakes
Flute - Celeste Monteith
Oboe - Heather Killmeyer
Vocals - Clare Loughran
Trumpets - Mihai Sorohan (sorohanro)
Suspended Cymbal/Bowed Cymbal - Ben Pitt
Drumset - Kostas Milonas

Virtual Instruments:
EWQLSO Platinum Plus Percussion - Timpani
EWQL Platinum Plus Brass - Trombone
EWQL Silk - Duduk Flute
EWQL Ra - Shaker and hand percussion
Sample Modeling - French Horn & Tuba
8dio Epic Dhol Ensemble - Dhol Drums

Download the full score of this track here:
tinyurl.com/a3y929p

Some compositional notes:
(Note* this film score was actually scored to picture)
Just as any film score like this should go there is some pretty basic harmony in the beginning during the emotional build up to the action. Experimenting with aeolian and lydian modes. When the dramatic scene of on of the main characters getting shot a bunch of times comes up I mess around with some ethnic instruments in a basic phrygian context, then I lead into the action scene which has much of the theme in it. Amazingly I've managed to use a "main theme" in several different contexts of this cue even though it is so short. Like I have said in many other posts of my film scores, this is one of the most important compositional devices you MUST apply to film scoring; Having a good sense for theme and variation, and in the case of film scoring, being able to do so effectively in a way that is an immersive musical experience to the viewers watching the movie. Use of ostinatos is always a good place for scenes like this. Now going into the incidental grenade explosion scene where there is much hectic action, I use very minimal cluster-like chords in the brass for the syncopated hits and like a good film score, the theme also comes back. With a strong ending downbeat it ends with a lushly composed string chorale with some basic dramatic writing to go with the scene. It's not always necessary to go all out using complicated harmony for this kind of writing. Though it may sound complex at times, when you break it down there is not really more than 4 things orchestration-wise going on at once.

Enjoy!