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Ludwig

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Ludwig last won the day on January 5 2018

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  1. A young Tonal Jedi named Boom Tss betrayed and murdered Sharky. Now the Tonal Jedi are all but extinct.
  2. Here are some titles this generator came up with - looks like they fit right in:
  3. I love the statements in the first 40 seconds of this cue, when Brody is flipping through a book, looking at shark attack victims. I think this is great because it emphasizes not the more recognizable ostinato but the melody on top of it. And the wonderful thing is that the ostinato is actually still there but very subdued and in descending whole tones instead of ascending semitones, gently being plucked by the harp - perfect for depicting someone mentally conjuring up the terror of the shark without the shark actually being there. I can imagine the cue being done in a horribly straightforward way, but am always delighted to hear Williams' brilliant solution.
  4. Thanks @Disco Stu! So now it's clear that your mystery chord is embedded in a sound world of harmony by major 2nds/minor 7ths and perfect 4ths/5ths rather than by 3rds/6ths (i.e., secundal and quartal harmony rather than tertian). Notice how the piece starts off - with the major 2nd C-D. Then the minor 7th B-A is added in. And in bar 3, the melody starts to unfold in 4ths (which becomes a motive at least in the opening of the piece): B-E-B-E. The harmony here starts to blend secundal and quartal ideas together: taking the melody's 4th B-E along with the supporting chord, we can unfurl the harmony as B-E-A-(D-)G-C. Sure, there's no D, but it's still easy to hear the fourthiness of the harmony (and besides, we already heard several Ds just before in the harp and viola). So when your mystery chord suddenly arises, I would call it 5ths-based (quintal, which is quartal harmony inverted), meaning I would understand it as two perfect 5ths plus an augmented one (hence the F#): Ab-Eb-Bb-F#. And notice on the second page when the chord is sustained, Piston goes out of his way to bring back a major 2nd-ish sound with the piano's Gb-Bb-Gb-Ab, and blend it with a perfect 4th melodically in the piano's Ab-Db (the motive I mentioned). Vincent Persichetti's Twentieth-Century Harmony neatly describes this kind of blending of 2nds-based and 4ths-based chords in this passage from his book (written in 1961, only 6 years after Piston's piece - clearly something was in the air!):
  5. Yes, I want to know this too as well as what chords came before it. Harmony is best understood as a contextual thing since, as @Score and @SteveMc have already pointed out, this vertical "slice" this can have several interpretations. And if non-chord tones are considered, then the possibilities become extensive indeed since each note could be on its way to resolving to the chord tone, and may be doing so at the same time as another note in the "chord". For example, following @Score's lead, maybe the F# is on its way to resolving to a "real" chord tone of G to produce an EbM/Ab (whatever that would mean in context). Or maybe the F# will resolve to G at the same time that the Bb will resolve up to C to give an AbM7. Or maybe F# will resolve to G, and the Ab (which seems like a stable note) is actually a non-chord tone that resolves down to G as well, resulting in an EbM/G chord. Beethoven's actually written this with exactly the chord @Disco Stu cites (voiced differently but with F#!). It's in the slow movement of his Bb Piano Sonata, Op. 22. Here's the relevant bit: But likely the many interpretations of Stu's mystery chord would whittle down to one when heard in its context. So, what piece is this from, and where in the piece is it?
  6. All I want is one more kick-ass march before he finishes with the saga movies, even if it's just heard just once. I'm hoping Knights of Ren?
  7. So Williams now goes for walks outdoors to solve compositional problems? That's exactly how Beethoven used to work. And Williams is reading the Beethoven symphonies for pleasure. Hmm... Clearly, he's channeling his inner Beethoven for TROS! (Btw, would absolutely love to hear a concert orchestral work from Williams whose musical architecture is influenced by Beethoven. Maybe something akin to a Shostakovich symphony. Williams loves 20th-century Russian music anyway!)
  8. Very, very sorry to hear this, Sharky. Know that you have many friends here and that, I'm sure I speak for many when I say, I'm both incredibly sorry for your loss but very glad to have you back!
  9. Here's a quick summary of Powell's picks by decade (up to 2008, where the list ends: Interesting, though not really surprising, that his favourites really pick up steam in the 1960s, the decade he was born in. But what is surprising to me is how few there are from the 2000s. And if you're wondering which composer has the most scores on the list, it's a three-way tie (7 scores each): - Williams - Goldsmith - and Elfman Zimmer is a close second with 6, but with the list's bias towards the pre-2000s, the most recent Zimmer score is Gladiator. It is a bit curious, especially since Powell has worked at RCP and with Zimmer himself. On the face of it, it looks like Powell just likes older scores, and that may be all there is to it. But maybe the list is born more out of nostalgia, a kind of list of scores from the now-distant past that he's enjoyed the most. It would be cool to see an updated list of his top scores from 2000 onward. Maybe he'd still have only 7!
  10. I think basically what Ennio's saying is that he disagrees with the choice to use an established style of score ("standardisation of stylistic choices") for such a prominent movie (this is probably what he means about it being "commerical"). He's also probably viewing Star Wars through a personal rather than historical lens, meaning that he personally remembers the classical-Hollywood-style score being popular in films of the 30s and 40s and so regards it as a nothing new even though, as @SteveMc points out, that kind of score really wasn't in vogue at the time. So essentially he doesn't like the stylistic choice because he feels it impinges on a film composer's desire for innovation. Fair enough. Personally, I feel that when people criticize Star Wars, it's for its old-Hollywood orchestration and the late-Romantic harmonic leanings. Funny thing is, there's actually a lot of modernism in Star Wars that is somehow never mentioned despite its very prominent role, e.g., Luke's theme and the use of "quartal harmony", the Stormtrooper chords and their use of "bristling" notes that don't agree with the rest of the chord, or the use of polytonality by having the bass disagree with the chord above it. But it's also probably worth mentioning that Morricone regards tone colour as one of a film composer's greatest resources, and of course this is one of his own greatest achievements. So he probably hears old-Hollywood orchestral scoring as more backward-looking than other composers might even if it includes significant modern qualities in the realm of harmony.
  11. Nah, this is too happy:
  12. Easy peasy! The B section here is actually really cool in a sinister way.
  13. No, no. It's just a misspelling that's a bit confusing. It should say Grandmaphone and it looks like this:
  14. I have written academic papers on JW and film music, yes: in this collection, and this article, along with several conference papers. I think writing a book on Williams is probably in the cards for me in the not-insanely-distant future, but life is packed to the brim at the moment. It would likely be aimed at composers and analysts because I feel that a book like this is long overdue. Emilio Audissino, Frank Lehman, myself, and others are beginning to fill this gap, but with Williams' command of so many musical idioms and his reforging of them in original ways, there is just so much to write about. So I can definitely appreciate your enthusiasm to seek out such material. I actually once asked an editor at a publisher that does film music books if they would be interested in a JW book. His response was that they were so afraid of being sued for copyright infringement by printing musical examples (which he said can be as high as $10,000 per example, especially for such a high-profile composer) that they simply refused to take on such a project. That was about 5 years ago now, and fortunately even in that short time span, things have changed and we are getting more written about Williams. I think that's partly because there seems to be more confidence on publishers' part that these writings are educational in nature and so fall within the limits of the fair use law, which permits the reprinting of examples for such purposes. Hopefully this trend continues.
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