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Score

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  1. Score

    John Williams's False Endings

    I like the one in DotF, mostly because it doesn't sound as a false ending to me, it's more like the closing of a section of the piece, before the final section. I dislike all the others that come to my mind, especially the one at the end of Hedwig's theme (the few bars that follow are completely unnecessary) and the Forest Battle (the piece is too short for having two conclusions).
  2. I will always thank people like John Williams and some other great film composers because they managed to partially invert that tendency. They showed that it is still possible to write music that is pleasant to listen to, while keeping to deliver a high-level artistic content. This feat alone is worth of an important place in the history of music.
  3. From most of your posts I get the impression that, when you approach a new movie, you first evaluate whether its formal structure is in accordance with some general codified textbook structures, and then, based on this, you decide whether you like the movie or not. If this were the case (maybe I'm wrong, you tell me), I would find this unnatural, like putting the cart before the horse. Surely it is not how most people react to a work of art, and art should always appeal to people, not just to those with technical knowledge. When I listen to a piece of music (an area in which I have, I'd say, a rather deep technical knowledge), I first react to the content and the message of the work (if there is one), and afterwards, if I want to understand why I liked it or not, I start analysing and taking note of what worked or did not work for me, when it can be expressed in technical terms. If I were to judge the formal structure first, I would not like film music at all (film cues have no well-developed structure), and even more, I would probably not like anything written after the 19th century!
  4. I still don't see what is supposed to be so wrong with the Canto Bight subplot! If nothing else, it served to introduce a new character (DJ) that might have a role in the next movie.
  5. "Jeu de timbres" is the French name for a sort of glockenspiel operated through a keyboard, which sounds similar to celesta. It was used by Ravel and Messiaen (e.g. in the Turangalila- Symphonie, in whose score it is just called "timbres"). In Williams' scores, I guess it's a fancy way to say "celesta".
  6. One of the few pieces in Stravinsky's catalogue that I did not know until recently, and it went immediately in my top 10 of his works: Amazing use of the double wind quintet, that never doubles the voices, providing instead additional layers to the harmony. Amazing use of the voices, combined in chords that "look wrong" on the paper, but sound great. The work of a genius.
  7. Since unstable minds are now able to voice their instability and have it amplified by the internet, other unstable minds look at that and come to the conclusion that their own instability is normal, and they also start to flood the internet with their own nonsense. It looks like a self-sustaining mechanism. I also believe that the substitution of real human relationships with virtual ones (many "friendship" relations nowadays amount to placing a like on a facebook post) has led some people to being unable to distinguish reality from fantasy. Otherwise, one cannot explain why so many haters care that much about the fate of fictional characters in a movie franchise, to the point of insulting in the worst possible ways the real people behind the movies (actors, producers, directors). They just don't make a distinction between the two levels. When I was younger, not even children would care that much about fictional characters.
  8. Score

    The John Williams Piano Collection

    Thanks, that's interesting... that's the harp part. So, it switches from violins (bar 61) to harp (bar 62).
  9. Score

    The John Williams Piano Collection

    Hello, thanks for your interesting website. I have a question about the two "sketch scores" included in "Star Wars: Deluxe Souvenir Folio of Music Selections, Photos and Stories 1977": apart for the obvious difference between sketch and full score, do they match the published full orchestral suites (e.g. by Hal Leonard, or the old Fox publication), or else, are they different and maybe closer to the original recording? As an example: in the Main Title, bars 62-65, the signature edition (as well as the old published score) differs from the original recording in the first violins part (at least), where we find the triplets E-G-C C-G-E E-G-C C-G-E (this version was then used for all subsequent re-recordings). The piece recorded for the original soundtrack should have E-G-C C-G-C C-G-C C-G-E. What does the folio give? Also, does the folio give the end credits continuation, or else, does it stop at bar 98? Thanks!
  10. Score

    Rank the Star Wars Movies

    Yes, this is probably why I also placed it above Solo (not to mention that it gave JW the occasion to write one of the saga's best cues). Also, the general atmosphere on Geonosis is not bad, as well as some scenes here and there. However, the whole battle in the Arena (with 3PO) is something I cannot forgive.
  11. Score

    Rank the Star Wars Movies

    I agree! It was the first time I went out of the cinema feeling bored. Not even AotC had had that effect on me on my first viewing (to be fair, I was much younger then). My list is: 1) Empire Strikes Back 2) Star Wars 3) The Last Jedi 4) Rogue One 5) The Force Awakens 6) Return of the Jedi 7) Revenge of the Sith 8) The Phantom Menace 9) Attack of the Clones 10) Solo
  12. Maybe Darth Maul's vital parts were all in the upper part of his body (he is not exactly human, as far as I know), so he could do without the lower part... ok, it must be this. It makes sense now.
  13. My first reaction was to call it a huge plot hole (just because we are so used to continuity errors between prequels and OT ), but then I realized that it would have been a bit too much even for Star Wars, so it had to be intentional. They need to explain it in a reasonable way in the next movies. Anyway, if they start resurrecting people, they will really cross a line beyond which they could be justified to literally do anything with no rules (a line they have already partially crossed several times in the past, with the properties of the Force, but not to this point)!
  14. Indeed, also because in episode IV Han does not believe in Force, Force users, Jedi etc.
  15. Yes, this is true. The first one is probably (?) the Forest Battle, so it's 35 years! (This made me realize that today is exactly the 35th anniversary of ROTJ!)
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