The Rats of Tobruk

Minimalist instrumental main title for a serious WWII war drama set during the 1941 Siege of Tobruk, Inspired by the restrained minimalism of Philip Glass and Arvo Pärt, and the austere war‑film scoring tradition of *The Thin Red Line*, Orchestration should be severely reduced and weight‑bearing, focused almost entirely on low strings (cellos and basses) and sustained tones, Extremely slow tempo with no rhythmic pulse, Harmonic movement should be minimal and static, avoiding lyricism, emotional arcs, or elegiac expression, No melody, no expressive phrasing, no upper‑string writing, no swells, no crescendos, Narrow dynamic range, Music should feel heavy, patient, and unresolved — like time stretching under siege conditions, Designed to sit under a black screen and title card without emotional instruction, Recording character should feel mid‑20th‑century, dry and natural, with minimal reverb, no synthetic textures, and no modern cinematic processing, ‑Exclude lyrical, ‑romantic, ‑or elegiac scoring styles, ‑Exclude expressive violin‑led themes, ‑sentimental orchestration, ‑and overt emotional storytelling, ‑Exclude modern cinematic trailer music conventions, ‑including epic builds, ‑crescendos, ‑climaxes, ‑rhythmic pulses, ‑ostinatos, ‑and percussive drive, ‑Exclude heroic, ‑inspirational, ‑triumphant, ‑or memorial tones, ‑Exclude lush string sections, ‑rich harmonic movement, ‑and dramatic dynamic swells, ‑Exclude electronic, ‑synthetic, ‑or hybrid scoring approaches, ‑Exclude modern film‑score polish, ‑exaggerated stereo width, ‑heavy compression, ‑or glossy reverberation

Minimalist instrumental film score for a serious WW2 war drama set during the 1941 Siege of Tobruk, Inspired by minimalist composers such as Philip Glass & Arvo Pärt & the restrained war film scoring tradition of *The Thin Red Line*, Sparse orchestration w/ slow‑evolving low strings & sustained tones, extremely slow tempo & subtle harmonic repetition w/o rhythmic pulse, Narrow dynamic range, no crescendos, no emotional release, no dramatic structure, No melody, no percussion, no brass, no piano, no choir, no vocals, Music should feel patient, heavy & quietly tense — like time passing under pressure during a prolonged siege, Sits beneath dialogue & silence, never draw attention to itself or instructing emotion, Instrumentation & sound design should feel consistent w/ mid‑20th‑century orchestral resources: limited ensemble size, natural acoustic space, dry & understated recording character, minimal reverb, no synth textures, no mod digital processing, no epic or trailer‑style elements

Minimalist instrumental main title for a serious WWII war drama set during the 1941 Siege of Tobruk, Inspired by the restrained minimalism of Philip Glass and Arvo Pärt, and the austere war‑film scoring tradition of *The Thin Red Line*, Orchestration should be severely reduced and weight‑bearing, focused almost entirely on low strings (cellos and basses) and sustained tones, Extremely slow tempo with no rhythmic pulse, Harmonic movement should be minimal and static, avoiding lyricism, emotional arcs, or elegiac expression, No melody, no expressive phrasing, no upper‑string writing, no swells, no crescendos, Narrow dynamic range, Music should feel heavy, patient, and unresolved — like time stretching under siege conditions, Designed to sit under a black screen and title card without emotional instruction, Recording character should feel mid‑20th‑century, dry and natural, with minimal reverb, no synthetic textures, and no modern cinematic processing, ‑Exclude lyrical, ‑romantic, ‑or elegiac scoring styles, ‑Exclude expressive violin‑led themes, ‑sentimental orchestration, ‑and overt emotional storytelling, ‑Exclude modern cinematic trailer music conventions, ‑including epic builds, ‑crescendos, ‑climaxes, ‑rhythmic pulses, ‑ostinatos, ‑and percussive drive, ‑Exclude heroic, ‑inspirational, ‑triumphant, ‑or memorial tones, ‑Exclude lush string sections, ‑rich harmonic movement, ‑and dramatic dynamic swells, ‑Exclude electronic, ‑synthetic, ‑or hybrid scoring approaches, ‑Exclude modern film‑score polish, ‑exaggerated stereo width, ‑heavy compression, ‑or glossy reverberation