karelm

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karelm last won the day on October 9 2016

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About karelm

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  1. Show some respect for the major 3rd before you get your ass kicked by them...they like to be understood and respected.
  2. It's a perfect 5th not a major 5th!
  3. Uh, no! Gia is doing a mediant major 3rd harmonic interval (sci-fi staple). G minor -> B minor. In G minor, the 3rd is B flat so with Gia it is a major 3rd interval. I say it is effective and it works, but it is all over sci fi and fantasy. Frequently used in Lord of the Rings and Star Treks regardless of the composer. This can be considered a cliche. In Imperial March, the harmony is G minor to a flat six (e flat minor) with an A. In E flat minor, the A should be A flat, but JW uses a raised fourth(A natural) to give it a very dissonant color against the B flat. There are similarities between what Gia and JW did but quite a few differences to say he "hid" the march in "hope". I think a more accurate description would be to say that Gia lived in the Star Wars soundverse and incorporated sonic elements in to his score.
  4. This will be a great place...for me to poop on!
  5. Dies Irae shows up all over the place. Here are a few big examples:
  6. I liked the way Giacchino merged the ESB Imperial march with ANH Death star motif at the end. That really worked for me. Keep in mind that this motif is frequently transposed so the intervals are more important than the chord. Notice at 0:58 the ending cadence to the Imperial March is C minor major 7 (C, Eflat, G, B) and in a New Hope, the Death Star Theme is A minor major 7 (A, C, E, G#) so same intervals. He is linking Vader with Death Star from the new hope and I think that was cool. I do wish MG kept the rhythm to solidify the link but I previously mentioned one of my issues with MG was he didn't match JW's rhythmic ingenuity. If you took JW's Death Star motif up a minor 3rd, it would be the same notes MG used to end his version of the imperial march. Yes, slightly different rhythm and pedal but he clearly meant to link the themes and I think he did so successfully.
  7. I always loved those few seconds when the orca was seen leaving the dock through the jaws window. Don't know why but as a young kid, that musical fragment really resonated with me and gave me goosebumps up until the 0:29 shanty theme.
  8. Fair and valid points. It still falls in agreement with my statement - it means your personal goals for your work is that it connects with people. There are some who disdain that idea but I for one do agree with you that art is fundamentally a communicative medium and has to speak to people in some way. There is a lot of further nuance to this but its best left for a different topic.
  9. But audience tastes are fickle and can take time to catch on. I would disagree with you and say what matters less is how it is valued by audiences (if we are talking about art). I would change your statement slightly to say that when it comes to art, what matters most is that the creator achieved their intention based on their own assessment. That might mean the intention is to make a popular piece and the metric would be that it is valued by the audience. But it might mean that it is a work of self expression where the creator doesn't care if it is understood by scholars, audiences, or critics. Etc. For our discussion of film music, I would argue it clearly needs to have some pop culture impact so maybe that's what you meant. Example: The 1960's and 70's Bond scores were just fantastic and merging pop and theater with while staying very trendy and adding to the character's unique cultural style. The same could be said of 1970's Rozsa. But at that time you had these young kids who were redefining genre's like Ennio Morricone, Bill Conti, Lalo Schifrin, Barry, Goldsmith, Williams, others that were in their prime. Agreed...but the same with 70's Rozsa.
  10. Yes, and in a way, if I see there is a new score by JW, I must confess I would be disappointed if it somewhat didn't deliver what I would expect of a JW score...a throwback in some ways to his golden age of the 1970's and 80's which is where I believe his legacy resides. Sure, I'd want some awareness to current scoring trends and conventions too. I wonder if in 30 or 40 years from now these will be considered horribly out of touch with the trends of the time. Yes, he's written great music before and after that and has diversity but the JW "sound" really comes from those space operas, action adventure, fantasy films of those years IMO. I also think Rozsa had diversity - but was never asked to deviate from what he was known for and by the 1970's there would be no reason to hire him to try a fresh approach because there were those others who were known for that.
  11. Well, don't forget, Rozsa was a very substantial composer during the noir and epic days of the 1940's and 50's. He was a legend through to the 70's. I think in the 80's he became a bit of a caricature in films like "Dead Men Don't Wear Plaid" though historians and buffs still adored him.
  12. I am currently listening to Miklos Rozsa's score to Nick Meyer's enjoyable 1979 film, Time after Time. I think Nick Meyer's does a great job of using rousing music in his films such as using the then somewhat untested James Horner to deliver a breakout score for Star Trek II: The Wrath of Khan and Star Trek VI (again with an untested composer, Cliff Eidelman). Anyway, this got me thinking...Rosza is a very fine composer and extremely diverse but his 1979 score to Time after Time could have come from his 1940's and 50's period. It must have sounded so old fashion and out dated by the time it was written. In one sense there is a timeless quality to it. In another, it feels out of time and place lacking any sense of awareness to what was happening with composers like Goldsmith, Williams, and Barry. The semi-young John Williams was hitting home runs with each score during this period but without disregarding the past but embracing it yet making it distinctly his own. Rozsa is best known for his great scores of the 1940's and 50's. It could be because he was typecast to recreate his sound that directors grew up with. I believe he became somewhat typecast and we can get a sense of this by how completely different his concert music (and very enjoyable) is to his film music. Do you think 2010's John Williams is sort of where Rosza was in the 1970's? ...a very talented and skilled composer who is mostly relegated to reprising ideas from 30 or 40 years earlier while the breakthroughs are coming from those getting their first breaks now and utilizing more modern and individual approaches?
  13. I can offer some insight into this. Raimi had a problem with Elfman's approach but struggled in explaining why it wasn't working for him. Elfman followed the tempo of the train so as it slowed down at the climax, the musical energy dwindled. That frustrated Raimi and Elfman was through doing rewrites either because he was emotionally exhausted on the frustrating project or was starting other projects. Young instead increases the tempo so the tension escalates at the end as the train reaches the ledge which works better and what is in the film. It took a few years for Raimi and Elfman to mend the rift over this frustrating film experience so Young scored the next few Raimi projects.
  14. You might enjoy reading this: http://www.filmscoremonthly.com/daily/article.cfm/articleid/6069/the-single-most-faq--how-to-become-a-film-composer/
  15. How is the Sakki test possible? That is like jedi level skills that some people seem to have. Is this a gimmick or is it for real?