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Rose's Theme, Luke/Island Theme, Holdo's Desperation Theme...

Just reading the line and I can hear the music at that part in my head And now I just went back and watched my isolated score "Man Against Beast" video for good measure

I'm typically not much of a CD collector, but I got these used at my local 2nd & Charles for $18. All three were practically new and in great condition. Good bargain!

Obviously your bank didn't think anyone would actually be buying something called Randy Newman's Toy Story Legacy Collection. Everybody knows Randy Newman's only song is Short People. So it was suspicious at the very least.

It's been about two years since I worked on this one. I posted some of the music for this earlier in this thread, but after finishing its run at the festival circuit, they've put the whole film up online. So if anyone is interested, do check it out! Would love to hear your thoughts!

If I told you exactly what Horner is doing here, then you wouldn't need to listen to the piece anymore! A few points about your transcription. Firstly, it should be an octave higher up. Secondly, it is much more correct to notate the A# as a Bb, because you want to notate in accordance with the scale at that point in the music, and G minor doesn't have an A#. Thirdly, you miss some beats so the transcription starts to shift out of beat. Here is a basic transcription of that section with chord symbols (from 0:22): So the first chord movement we hear is D (tonic) to Gm/D (i.e. a G minor chord with the D in the bass, the subdominant of D). The D in the bass is kept for two reasons: to avoid too much movement near the beginning of the melody, and to enhance the effect of the bass moving to G in bar 4. Nick Parker calls this a Gm6, though I disagree because I can't hear a 6 (i.e. E) anywhere. It DOES appear as the second chord in Princess Leia's theme (which was obviously Horner's model for this theme), and for what it's worth, a Gm6 chord would function the same as the Gm chord we have in the Rocketeer; it seems like Horner "just" left out the E. Gm6 -> D, or more generally, IVm6 -> I, is a very characteristic Romantic progression. It can be traced back to at least Wagner, who for example did a IV6 -> IVm6 -> I (Gb6 -> Gbm6 -> Db) progression at the end of Gotterdammerung. It was definitely used by Chopin, Liszt and Schubert as well. I'm sure you can see how it was used all over the place in film music - it works well because the IVm6 chord has a strong pull towards the tonic. It does not have as strong a pull as the dominant (V) chord, but the V chord (or, more specifically, the I-V-I progression) in fact draws a lot of attention to itself and so film composers tend to avoid them unless they SPECIFICALLY want to draw attention to the music. But anyway, as I said already, the Rocketeer does not use the IVm6 chord, only the IVm chord. But the function is similar. Now, the other notable progression in this section is the transition from Gm to Eb Lydian between bars 4 and 5. Skip to the next paragraph if you understand what modes are. If you aren't aware of the term "Lydian" then it basically means that you take a major scale and you sharpen the fourth note (so for example, in C major, you would sharpen the F to create a Lydian scale). That is one way of describing it; another way is to say that the "Lydian mode" is what you get when you take a major scale and play the notes in ascending order starting from the fourth note. So, if you take a C major scale, and start playing up from F, then you get F G A B C D E F, which is F Lydian. Obviously, you can do this from each note in the major scale, i.e. you can start from C, from D, from E etc... And you will end up with different modes. If you start from C, you get the Ionian mode = the major scale. Start from D, you get Dorian (b3, b7). Start from E, you get Phrygian. F -> Lydian. G -> Mixolydian. A -> Aeolian. B - > Locrian. These modes are known as the "diatonic" modes because they are derived from the major scale, and is what Nick Parker means when he says that the section is very diatonic (it would in fact be completely diatonic if it weren't for the Ebs and Abs in bars 5 and 6 respectively). The Eb Lydian in the context of a D tonic is significant, because the Eb Lydian is then highly suggestive of an EbM7 chord (Eb G Bb D). This is a very "bright" chord, and the Lydian mode is the brightest diatonic mode. So what you get is not only a semitone shift from D in the bass up to Eb (i.e. a "brightening" of the bass*), but you land in a very bright harmony. Now if you add a minor chord in between the tonic and this "semitone-raised" Lydian harmony, then the brightness is even more sensual, because of the contrast. So this is another very evocative, "heart-on-sleeve" progression which film composers love to use. There is a particularly vivid example of this technique at the end of Tchaikovsky's Swan Lake: where he goes E -> Eaug6 -> F Lydian/E. The aug chord functions similarly to a IVm chord. Note that in this case, Tchaikovsky keeps the bass note constant, which creates a heightened "tension" at the cost of a less bright harmony. (Btw, this is what Williams does in his Han & Leia theme, where he keeps the bass note constant whilst using a similar chord progression). Btw, note also how in this part of Horner's excerpt (and Williams'), some of the intervals in the horn are quite large. You have the octave jump in bars 4/5 and the major seventh jump in bar 6. These kinds of leaps are often employed to create a more expressive atmosphere and again it's a very (late-)Romantic idiom. Also, it's funny how Horner adds an English horn on top of the French horn before bar 5. I don't know if this is a French/English joke, or because of Horner's surname...but it's interesting. Final thing - the Gm harmony at bar 7. We have just heard a succession of two bright Lydian harmonies, which promise something big to come...only to drop down softly back to Gm (again, by semitone in the bass). The way Horner does this is beautifully subtle and unassuming, IMO. I think that will do for now! Let me know if you have any further questions. P.S. After listening to this in depth I now know where Debney cribbed the love theme from Cutthroat Island . *Music presents this paradoxical property where sometimes the "smallest" changes have the greatest effect. In this case, shifting the bass note up by a semitone gives a greater sense of "shifting up" than if you were to shift the bass up by a larger interval. The Minimalist style in music is based on the whole precept that a small number of subtle changes gives a greater sense of direction than a large number of big changes.

"No, I am your-" -roll credits-

Imagine being a kid in the 80s watching The Empire Strikes Back for the first time. Was Vader really Luke's father? How would they get Han back? Then imagine having no clue as to what would happen next and having to wait for three years for answers. That's a cliffhanger for ya.

Spotify is already listing Indy copyright as "2008-2018 Lucasfilm" with no mention to Concord. Have the rights expired? Could it be those for the books?

Congratulations on raising the bar for online movie discussion. Your excellent contribution has been duly noted.

Crisp was the word I settled with and I knew it was inadequate. G. U. provided us with an almost dreamlike view. I want the 4K to retain that.

For what it's worth, LLL said this yesterday on FSM.

To me, the best recording of the Godzilla March is on the Godzilla vs Mothra '92 soundtrack. I liked how he replaced a lot of the percussion in favour of deep horns, which gave this version some colour and variety. The versions recorded for Godzilla vs. Mechagodzilla '93 and Godzilla vs. Destoroyah are okay, but not my go-to ones.

It is, yes. "Looking For A Truck" from about 2:15.

Lando's going to see the Falcon finally go down in flames! He'll then say something like 'Well, Han ol' pal, it's been a fun ride'.

I'll tell you what I make of it. It is an honor to have the Guards play the piece, regardless of who they are playing it for.

Today's haul:

I just edited a few suites from the attacking section of the score and his theme is given a huge workout. Absolutely. I like a few set pieces from Silvestri's because of his use of his themes, but in terms of cue structure and variety within, Goldsmith easily wins. He just has more subtlety and detail.

EDIT: As the 1973 "Promo" LP is in fact considered by many as being a bootleg, I just removed it from my websites. So the 1994 Varèse Sarabande is indeed the "Original" release. 👍

Those samples sound effing atrocious

Managed to extract the other two images.

Ditto. It seems like a classy film just like Rogue Nation is - too bad it lacks a classy score.

Shame about the score but I am SUPER pumped for the movie.

I've come to like some of the 'duller' middle bits a little more recently as both movies are on Prime video, and the tense cues work better in context. Although my revised playlist still omits 19 mins of either boring or repetitive material. Goldsmith did a great job for most of the score, but it's not perfect.

I'm not sure how to interpret that, but at the FSM forum, I (another specified it) asked MV for a reissue of Innerspace, to which he replied with a simple smiley: . Could that be an indication of a reissue being in the making?

Yes, that's exactly what I find - the middle section of the score is rather unremarkable suspense/horror music that doesn't really go anywhere. At best, it needs viewing the scene to appreciate. Given that it's said Goldsmith only agreed to 70 mins to start with, I'd tend to agree with someone's comment earlier that msot of the music not on the album is probably the stuff Goldsmith wrote in his 'pissed off' period.

All the other seasons have better music that season 1. The second half of Season 3 is when it really becomes something special, then season 4 is full of good stuff

I tried to correct a few things today (The beginning is still abrupt, as I didn't think of a proper opening).

Some balls are held for charity, some for fancy dress. But when they're held for pleasure, they're the balls that I like best.

The two Cloverfield scores are both excellent. I love Rebel in the Rye a lot, but it doesn't seem like your kind of thing. I'm still a novice with his TV scores, I'd let others recommend there.

After watching Jaws last night, I realize that movies were made to last back then, because it was just as fun and gripping as the first time I saw it. Nowadays we have the hype, opening weekend, box office earnings, temporary satisfaction storylines... What happened to the good old down-to-earth entertainment?

This is great stuff @martybmusic! Subscribing to this! Thanks!

Here's an article on the death of CDs: https://www.rollingstone.com/music/music-news/the-end-of-owning-music-how-cds-and-downloads-died-628660/

Wait hold the phone--you watched Jaws 2 and not Shin Godzilla? The tracked music is double-edged for me: they're really effective outside of the obvious clash of sound quality, but there's the part of me that's thinking "Aw man, I wish they did something original here." Both film and score still have a strong identity, though. You can definitely tell this is a live action film directed by a dude in animation. One thing that composer Sagisu inherited from Ifukube very well was how big and gutsy he made the brass sound, which can be a difficult thing to pull off (bunch of instruments on same notes playing ffffffffff does not make things truly loud or full). John Williams has payed tribute to this sound several times with scores like Lost World and War of the Worlds. Also, Ifukube was a legit, prolific composer in his own right, you should check him out! He wrote this when I think he was 24.

Thanks @mstrox, you're a true butt!

Instead of checking your bank account history, why wouldn't you check your order history at the site, and/or the email account that you use when you order from them?

Ifukube was pretty consistent with his orchestration of that theme whenever he scored it though there were variations of it throughout the films and some of the films he scored didn't use it at all. In the films it does appear, it's much like the way Jerry Goldsmith treated his Star Trek: The Motion Picture theme. I'd say the best variation of it is in his last Godzilla score, Godzilla Vs. Destoroyah, for the end credits. The end credits arrangement also includes his King Kong theme. Going back to an earlier point about Godzilla appearing 'fat', here are two Japanese Godzillas: I'd say they both seem more 'fat' than the Legendary one.

Family dysfunction, mid-life crisis, male impotence, existential angst...yep, THE INCREDIBLES has it all.

The Incredibles - because I'll probs catch the sequel over the weekend. Charm, chuckles, eye-popping animation, mayhem to rival same in live-action superhero flicks and a brilliant Michael Giacchino Bond-pastiche score.

Maybe he's not out there, Jurassic Shark. Maybe he's right here, @Horner's Dynamic Range.

How could you forget buying something? Usually I spend my life doggedly tracking the whereabouts of the thing I bought until it arrives and the cycle begins again...

FOURTEEN YEARS IN TIBET????!!!! Please, no!!!!!!!!!!!!!!!!

And Lea Thompson in Jaws 3. ❤️

The one great Silvestri you then missed out on would be 'Judge Dredd', which makes for a best-of trio with Mummy II and Predator 2.

If you don't like this cue i wouldn't bet on it:

I will personally go out and destroy every digital disc of Birdman and delete it from every hard drive and server in the world before I will let that garbage be considered a classic.

I only care about when Williams will start writing and recording the music for this...

John, keep that chum line going.