Marcus

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Marcus last won the day on July 10 2016

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About Marcus

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  • Birthday 10/14/79

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  1. Just saw the film (which I thought was very good), and can only say that it was perfectly scored. I'm sure I'm echoing many in stating that the film really is an extension of TFA's narrative (more so than any previous SW film in relation to its direct predecessor), something which certainly does inform the score. It really doesn't call for any big new themes, and in providing one for Rose, Williams is already more than generous (even though I'm glad he supplied it). What I will say, is that the score as heard in the film feels fresh, despite the many callbacks (many of which also have a bittersweet tinge to them). Looking forward to hearing the OST!
  2. Except it seems to have been confirmed that it isn't.
  3. So it would seem the skeptics among us were right, if recent reports are to be believed...
  4. Well, in his TFA, BFG and Dear Basketball scores, and in his recent concert works, the sophistication of his writing remains undiminished...
  5. Having just listened to it again, I'm just having a hard time imagining this is Williams. There are so many choices that simply don't strike me as something Williams would do. Why are the strings simply holding a static pedal just as the March kicks into gear? I suspect the rhythmic oddities are mostly a matter of editing. The ending sounds like generic trailer music. In a score possibly sporting both the Imperial March and March of the Resistance, it seems a bit redundant to add another march that is essentially a cross between the two. There are also aspects of the melodic writing that strike me as "un-williamsy", such as the escape tone on the 4th beat of the theme's second measure, especially since it sounds like it is played by a lone trumpet (and not doubled at the octave). I just don't hear that "Towner touch"... Of course, it could all be a question of something being lost in translation, chopped up, edited and adjusted on the altar of Verizon. Or maybe my ears simply aren't as infallible as I thought they were...
  6. One thing about it that sticks out as a slight surprise (and I often find that it's the surprises, not only the trademarks, that sets Williams apart), is the Bb augmented chord (before it turns into first inversion Gm) cadencing to A at the end of the main thematic statement. But if this is indeed Williams, I think it would actually be the first time I haven't immediately recognized a piece as such upon first aural glance. And perhaps it's precisely the expectedness of it that throws me. It is essentially an "Imperial March 2.0" (which I guess is justified, given the nature of the sequel trilogy's antagonists). Either way, I look forward to finding out!
  7. Well, it's unusually light for a Star Wars concert title. It's more in the vein of "Jazz Autographs", or "A Whirl Through Academe". Then again, TFA had "Scherzo for X-Wings"...
  8. "Revisiting Snoke" certainly sounds like a concert title, and a playful one at that (as in offering the composer the opportunity to do another take on a character he already provided some music for).
  9. I guess my question would be: Why go with emulating The Imperial March when he could just quote it? Unless there's some kind of later contrapuntal playfulness involved, it just doesn't quite fit with Williams' modus operandi. But it's certainly competent, and has an opulence to it that I could imagine Williams might conjure, should the narrative require. All I can say, is that I was never in doubt when I first heard "The Jedi Steps" in that TV spot...
  10. Whatever it is, it is based on the concert version of 'Imperial March'. Guessing either library music, or someone being hired to stay as close as legally possible to Williams' original (perhaps cheaper than licensing?). If this is, or is based on, new Williams material (which I doubt), I would imagine it is designed to work in conjunction with the original march (though the cadences don't sync up, which makes me doubt it even more).
  11. Anyone capable of writing complex orchestral scores is certainly able to come up with titles for a major soundtrack release. He did for The Post! And I can't imagine someone as attentive to detail and polish as Williams would ever surrender control in such a way. The track list has yet to be revealed, as far as I'm concerned...
  12. Seems fake. They certainly don't look like Williams titles... (whereas The Post's track list does)
  13. Greetings, everyone! Just thought I'd mention that my new album, "Odes&Elegies", is out on Italian label Sheva Contemporary. Here's a link to Amazon: https://www.amazon.co.uk/Odes-Elegies-Marcus-Paus/dp/B076TNJBDF And here's a video presentation of the program: The album features marvelous performances from soloists Henning Kraggerud (violin), Tom Ottar Andreassen (flute), Jan Bertelsen (oboe d'amore), Ole Eirik Ree (cello), Bjarne Magnus Jensen (violin), the Norwegian Radio Orchestra, and the Arctic Philharmonic Chamber Orchestra. Hope you'll enjoy!
  14. Johnny's Mystery Chords

    It's a great chord, and adding to your observations, I'll just mention that it features several of Williams' "sonic pets" in one resonant flash: -At its base lies the 0,8,11 (min6maj7) chord, which is Williams' "go to"-tension sonority (regardless of its harmonic function), and at its summit another "pet", 0,4,11 -The Bb-F# melodic gesture implies a typical williams-esque (prokofiev-esque) "bVI#9-I" cadence, here as a superimposed Eb#9 to G#11, amidst an A(maj)7/Eb(maj)7 polychord -The main polychord obscures its inherent octatonicism by featuring both leading tones, adding more chromatic color and tension as they encircle each of the central notes (Eb and A)
  15. Johnny's Mystery Chords

    It's essentially a combination of Fm, Dbm and Em (and, to a lesser extent, Cm) , but voiced, as you said, as an Fmin9#11addb6/E. And beautifully orchestrated! Many of these structures tend to be additive. Williams has a penchant for stacking mixed triadic and quartal units (say Eb-Ab-Db-Fb-G on G-C-F-Ab-B). One may think of these in terms of chords (i.e Dbm#11/Eb on Fm#11/G), but I suspect that to Williams, these structures are merely coloristic extensions, or nuances of a larger harmonic field. If one were to think of these from a linear perspective, the additive procedure would concern tetrachordal units rather than scales, and one could arrive at the present example via three "half-whole-half"-sets, beginning on C, E and G, respectively.