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Quintus last won the day on April 26

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About Quintus

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  • Birthday 05/02/77

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  1. Hmm, in the case of film scores, I think the meaning the listener invests into the accompanying images is key in that regard.
  2. It can get a bit coarse though can't it, group scoring I mean. Like it can in that solo material sometimes.
  3. Well I suspected that is what you meant, but I don't agree and I think this is where we diverge. One could apply the same angle to a DJ who produces original techno, or trance music: a short compact idea designed to work as a repetitious continuous beat is of course valid music, and it requires a degree of skill to get right. But I don't think those "ditties" (sincerely don't mean to come off as dismissive there) are on the same level of melodic complexity as something more fully developed musically and aesthetically as heard in some other genre. Then again, maybe that's were the lines between something like melody and musical 'ideas' start to blur. I think Hand of Fate is fabulous btw.
  4. Really? Can you explain what you mean?
  5. The End Credits to Jaws 2 I was going to start a thread about one time actually because I think it's terribly underrated. It's a stunner, and that fanfare could sell me an endless amount of Pixar movies. Most recently, I suppose I've been most impressed by this longer melody from Destiny, which is almost exactly a minute long in its purest form. The other permutations of it, including the heroic action version, are beastly (then again I've heard them a hundred times so they're bound to be 'up there' for me). (Heroic @ 3:00) I know I sound like a broken record, but if Giacchino could knock out something like that, I'd finally convert.
  6. Ludwig, that post was a marvel. I've always loved how you so eloquently break down music as a scholar of Williams' craft, and always somehow get all to it all make perfect sense to a non-trained layman like myself. Brilliant! From this description and from start to finish I knew precisely the beats and flows of the individual parts you broke this down into. I've contemplated this melody (and the E.T. one) in exactly the same way as yourself, over the years. The psychological conditioning and emotional momentum which Williams builds into the very finest of his themes is astonishing... and so easy to take for granted. That was sickly sugary but undeniably very nice, which coming from Delerue could only ever be. Is the album worth it? I can't believe I've never heard this before. It's going in my car.
  7. We all love a good theme, and being JW fans, we're well used to being treated to lovely well fleshed-out really long melodies dominating the overall sound of them. The Force Theme is probably his most instantly recognisable and one of his finest melodies ever, and it's a satisfyingly long one. The various permutations we hear will make full use of the scintillating luxury of each of the many notes from which the theme is comprised, each one inevitable yet as vital as the rest, the end result of which can in itself feel like a little bit of rich musical storytelling with a beginning, middle and end. "Long-lined" melodies are arguably one of the Maestro's strongest points, and I'd like us to share and talk about our favourites here. And are longer melodies naturally the better sorts of melodies? I personally can't think of anything more musically satisfying than listening to and following the prolonged flow of a great well developed musical signature for a character, or a place. It's terrifically evocative! Or do you agree but with reservations? Can short motifs alternatively be just as stimulating to your ear? Is there a reward and the same sense of musical completion in melodies made up of only a handful of notes? Serious question: has Giacchino ever really written one of these? If he hasn't, or not with much regularity, then perhaps it's the main reason why I can't get into his work. Other composers are well capable of a good really long melody, too. Let's list some if you please. If YouTube is to feature, please provide handy timings to the melody in question. Speeds things up. The longest incidental melody (existing without being a part of a bigger main theme) I can think of is Zimmer's heroic action music for Maximus in Gladiator. Do you know it? It's what we hear whenever the character rides horseback, sword in hand. Surely one of the longest melodies in a film score...
  8. I didn't know you could drive a mobility scooter! Drive yes. Disembark, no.
  9. That's just it - so far in the thread, there aren't any. The naysayers and denial fanboys choose not to address the collaborative band problem, instead skirting around it and sticking doggedly to the "well I just think solo has to be better coz" dogma. I mean, is this even a debate? And no, simply disagreeing with somebody is not equivalent to providing a robust alternative view. Had somebody like Thor unexpectedly taken issue with the group compositional ethic vs going solo, I would have fully expected to see such a well thought out rebuttal from him. Instead we got Steef, with his John Williams CDs.
  10. He has incredible hair. Sadly I've got absolutely no chance of emulating it. Ask any young married bloke and they'll tell you that has the effect of increasing the magnetic pull, weirdly.
  11. What I really wish my follicles could provide is a bouffant cut, like what Drax wears. I'd be a pure fanny magnet!
  12. I would have gladly done so had Stefancos not already chipped in on your behalf in the way he tends to do. So first and foremost you should consider my post a response to him instead of yourself. Unfortunately you were the unwitting third party in what followed, but that doesn't change the fact I still think your contribution was ambiguous and vague nonsense. The high and mighty part I can live with, I accept your accusation and grievance there.
  13. He's another talent who annoyingly refuses to leave the games medium. His Killzone stuff is Goldenthal levels of epic.