Sharky

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Sharky last won the day on May 25

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  1. Favorite short musical moments in Williams scores?

    0:10 and 0:42 One of Johnny's coolest moments. You've not only got that driving 9/8 pedal in the cellos and bass, but also an infectious two measure ostinato in the low brass (subdividing the meter into 5-4 and 4-5 - a sort of rhythmic palindrome). And how about that glassy l i-VII-i figure that seems to prefigure No Man's Land and I Can Fly Anything?
  2. But there's the rub--they're only "adequate." They serve the dramatic exigencies of their respective films, but little more than that. With Zimmer music, you can hear the soul of a man who's loved and lost; who lived on a strict diet of Bach, Mozart and Beethoven as a child and then discovered pop music through Bowie and Floyd in his early teens; and despite his lack of formal compositional training has striven to educate himself by studying the scores of the maters.
  3. I think most of it is organic, just prelaid rather than recorded live with the orchestra.
  4. Of the current heavyweights I'd probably pick Chris Young. If you want exotic, grimy and grotesque, he's your man. I still haven't quite warmed to Beltrami, even after Gods of Egypt, but given his resume he'd be an obvious choice.
  5. Yeah, I wondered about that. I was listening to Black Sunday the other day (a personal favourite) and for the fun of it, decided to pop up a few clips of Rogue One, mute the sound and sync them with cues from BS. With the exception of the groovy Fender bass/hi-hat stuff, it worked perfectly. Now THAT is what Death Troopers should've sounded like. Not Spaceballs 2: Electric Boogalo.
  6. Yes. That's exactly what "reactionary" means. Bravo!
  7. Use your musical instincts, Loert. Let the NOTES flow through you.
  8. You seem unable to see the wood from the trees, and are obsessively fixated on the "synth sound percussion." That ominous brass choir is Williams refracted through Powell's prism, the arcing string arpeggios (recalling A.I.'s Abandoned in the Woods) in that transitional passage are Williams but transformed by Powell into his own progression, the snappy trumpet punctuations are Powell channeling Williams... What more do you want? It sounds great to my ears. I can hear the influences of Arnold, Howard and Silvestri, but that to me is part of a broad post-Goldsmith vernacular that can't be trace to one particular composer. I agree with Jack that the Train Heist cue is somewhat Arnoldian in the drum programming and syncopations, but the orchestration is so much more transparent. While I'm not an Arnoldphobe (any more), he does tend to bog down his action music in unnecessary filigree, and fussy cadenza-like passages over dominant pedals. This is refreshingly free of that.
  9. Exactly. ROTS with its thudding daikos sounded more "RCP" (an epithet that's becoming more meaningless and this thread wears on) than this. This is a lighter, airier prelayed percussion sound common to Powell, Arnold, HGW and their 90s contemporaries. The fact that it's elicited such a visceral reaction here is... predictable, yet somewhat amusing.
  10. What Is The Last Film You Watched? (Older Films)

    They took the idols and smashed them, the Fairbankses, the Gilberts, the Valentinos! And who've we got now? Some nobodies!
  11. It's the Chris Clemmensen Cult of the Melody. Film music fans who place an unreasonably high premium on hummable thematic material (and by extension its author/s) at the expense of other considerations, like texture/orchestration, harmony, diegetic role, rhythm, form, development of said thematic material. Talking about variations development, I love this little motive that Powell derives from Williams's Searching Theme. He takes its characteristic semitonal trill figure, and then sets its standard A minor harmony through David Lewin's SLIDE operation, arriving on an uncanny Ab major. In a SLIDE, the fifth (A-E) literally 'slides' down a semitone to Ab-Eb, while the third (C) is sustained. It's a distinctly un-Williams device (I associate it more with composers like Horner, JNH, Goldenthal and Zimmer) but it's a welcome (and perhaps overdue) addition to Star Wars' harmonic landscape. Another occurrence slightly later in the same cue: Am - F/A - F#m
  12. I know, right? "What are those awful RCP drums doing in a period score?!! Has Williams lost his mind?" Fucking reactionary idiots.
  13. It sounds fine to me, and the voiceleading checks out. In Am: 6 V6/iv iv6 It6 Vsus (implied) V (implied) -> 6 iv VII6 i F A/C# Dm/F F7(no5) Esus (implied) E (octaves) -> F Dm G/B Am [Secondary Dominant] [Italian Sixth] [Deceptive Half-Cadence] [Subtonic Cadence] You've got a deceptive half-cadence that resolves to the submediant (or an elided deceptive cadence), and an octave unison on the dominant (although the string figuration and harp glissando sort of 'fill in' the missing harmony). Beyond that, there's nothing particularly radical here in its phrasal structure or harmonic syntax, and you can find considerably more daring in many of Williams' cadences (see Frank Lehman's genus of chromatically modulating cadential resolutions).
  14. Horner didn't patent the usage of the Bulgarian Women's Choir and neither did Williams with overtone singing. All of these much more prevalent in contemporary film scoring than you seem to believe.