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					National Treasure: Book of Secrets
Music by Trevor Rabin
5/5

Rabin’s score for “National Treasure: Book of Secrets” is just as good as his score for “National Treasure.”
There are many more themes in this film’s score than in its predecessor. Rabin manages to keep the
theme from the first film, and incorporate it nicely into this one, but he keeps it hidden well. This score is a
paltry 22 minutes, and a digital download only. Hopefully a more elaborate, complete score will be
released in the near future.

His first track, “Page 47” is definitely a good starter. I’m not sure if this is from Gates’ kidnapping of the
President, or if it’s at the end of the film where the President and Gates are talking about Page 47. This is
a good piece though. Rabin uses a lot of quick string work, interlaced with the new overall theme with a
very patriotic overtone.

“Cibola” is the longest track on the album. It begins with a soft woodwind melody, but quickly lets the
strings take control with the theme. There is an almost creepy section to this track, when Gates discovers
that what he’s looking for may be Cibola. The eerie section turns into a driving force that is led by a rapid
string section. Rabin brilliantly throws in a mixture of low brass and low strings to counter the driving
strings, giving the track a unique sound. Just when you think the track will explode from the driving force,
he tones it down and reintroduces the film’s theme in a soft piano theme with string background. Much of
Rabin’s music is reminiscent to that of Hans Zimmer’s driving beats from “The Rock” and “Pirates of the
Caribbean,” but Rabin gives it just enough flair to make it his own.

Rabin’s introduction of the accordion for “Spirit of Paris” is not only expected, but he does so with great
results. It’s not your typical Parisian sound you’d expect from an accordion. He instead reiterates the film’s
theme with the often misused instrument to let you know that it’s still “National Treasure,” just in France.

Once Gates is successful in his treasure hunting, Rabin’s “City of Gold” takes the forefront. Rabin is
careful not to overuse the theme here, as the listener knows that something dramatic has definitely just
occurred in the film. Near the end of the track, you know that all danger is not over as well. The broad
theme is quickly replaced by a quick string piece that lets the audience know something is about to
happen.

I think one of the best tracks on the album is “So!”, which basically serves as Riley’s theme. It’s a short,
playful track, but the listener gets the chance to not worry about grandiose themes or driving dangerous
beats. It’s a great track that ends on a great note. I could see this being used in many trailers.

Rabin finally brings the first film’s driving theme and brings it center stage with the track “Gabby Shuffle.”
There is a great section where the low string/brass gets to shine in this one as the driving theme that
allows this to be one of the best tracks on the album.

The final track is “Franklin’s Tunnel.” This track has a little bit of everything. There are several driving
moments, soft melodic moments, and grandiose themes as well. This is the second longest track on the
album, and it really allows Rabin to showcase his talents with the multiple themes generated by this one
piece. Overall, this is a great score. It is definitely worthy of a buy from its digital release on ITunes, and
hopefully Walt Disney Records will chose to release either an expanded version of the score, or at the
very least an actual CD release.