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      Donation time at JWFan   01/16/18

      Hello!

      For those who may not know, JWFan relies entirely on donations to keep running.  Donations pay for our server bills, as well as keeping our domain and Invision Powerboard fees.
      As an incentive to donate, I am offering a series of free CDS to anyone who donates over a certain amount!   Last time this was a modest success, where I raised $500 of our desired $1,000 and mailed out 3 free CDs to lucky JWFanners.  This time I'll be doing the raffling a littler different!   Our goal is $1000 once again, and I will have four tiers of free CDs you can win once again.  But this time, the more you donate, the more entries into each raffle you'll get!   Each $10 you donate gets your name put into the raffle mug once for the $10 pool, twice for the $20 pool, thrice for the $30 pool, and five times into the $50 pool.  Here is the list of CDs you can win - and I have more to add at a later time when I get a little more organized (I'll post what they are by Friday at the latest)   The $10 pool (Every $10 you donate gets you one ticket into this pool) - will be drawn as soon as we hit $250 donated Tyler Bates - God of War; Ascension (OST, La La Land Records) Danny Elfman - Planet of the Apes (OST, Sony) Danny Elfman - Taking Woodstock (OST, La La Land Records) Christopher Lennertz - Identity Thief (OST, La La Land Records) Christopher Lennertz - Medal of Honor: Rising Sun (OST) Michael Giacchino - Mission: Impossible - Ghost Protocol (OST, Varese Sarabande) Dave Holmes & Various - Ocean's 11 (OST, WB Records) Joel McNeely & Various - Hollywood '94 (Varese Sarabande) Joe Kraemer - Jack Reacher (OST, La La Land Records) John Williams - Born on the Fourth of July (OST, MCA Records)   The $20 pool (Every $10 you donate gets you two ticket into this pool, must donate at least $20 to be eligible) - will be drawn as soon as we hit $500 donated John Barry - First Love (La La Land) Jerry Goldsmith - The Challenge (La La Land) Jerry Goldsmith - In Harm's Way (2009 Intrada edition) Jerry Goldsmith - The Red Pony (Varese) Alan Silvestri - Dutch (La La Land) Shirley Walker - Willard (La La Land) John Williams - Family Plot (Varese Sarabande) or, any of the above CDs if you prefer   The $30 pool (Every $10 you donate gets you three ticket into this pool, must donate at least $30 to be eligible) - will be drawn as soon as we hit $750 donated James Horner - Gorky Park (OOP Kritzerland Edition) James Newton Howard - Outbreak (2CD, Varese Deluxe Edition) Laurence Rosenthal - Clash of the Titans (2CD, Intrada) John Williams - The Fury (2CD, La La Land) John Williams - Jane Eyre (OOP, La La Land) or, any of the above CDs if you prefer   The $50 pool (Every $10 you donate gets you five ticket into this pool, must donate at least $50 to be eligible) - will be drawn as soon as we hit $1,000 donated Jerry Fielding - The Wild Bunch (3CD, FSM) Ira Newborn - The Naked Gun trilogy (3CD, La La Land) Shirley Walker and Various - Batman: The Animated Series Volume 3 (4CD, La La Land) or, any of the above CDs if you prefer     All shipping will be paid by me to anywhere in the world!   I will pull names from a hat for each pool, and you get to pick whatever CD set you want if I pull your name!   To be eligible, leave your JWFan username in the comments area of your donation.  If you want to donate but not be in the running for a free CD, mention that in the comment.   Use this link or the link on the mainpage.       Thank you!   Jason, Ricard, and Andreas.

Jediwashington

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Jediwashington last won the day on July 4 2016

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About Jediwashington

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  1. Podcast: Rian Johnson On How John Williams Works

    Absolutely the case. This score was heavily temp-tracked. Tempos line up almost exactly with previous cues and Rian even mentions that they temped the entire film and gave it to John. That being said, Rian has NEVER worked with a real composer before - only his relatively amature cousin. Thus his normal workflow was probably more dictated than artistically letting go and he probably had a really hard time doing that even though he has incredible appreciation for Williams and probably couldn't think of not temping a movie, even though Williams could probably work around it regardless.
  2. John Williams' 2018 Concert Schedule

    I've been in Milan for 6 months and I can confirm this is an Italian Orchestra thing; unless it's La Scala or one of the major opera house orchestras, they are usually out of tune and messy. Not really their fault; it's nearly impossible for full orchestras to make enough money here for full time positions because the Italian government basically only funds opera houses as part of their heritage management and there is no culture of philanthropy except for a few foundations (but they usually prefer to fund museums and artwork over music).
  3. JoAnn Kane's Mark Graham Interview on orchestrating for Williams

    Of course they do. Finale actually allows you to select what range you want to work within: Professional all playable notes, common ranges, and then more education based ranges. Not saying it's perfect, and it's still being refined to show what would be harmonics and whatnot, but even some instruments can have variation. I have a lovely oboe with a third octave key that makes some of the extended range stuff easy, but most guys with a loree with just 2 octave keys would have a hard time, even though it's a common configuration for professionals. Same goes for flutes with a B foot vs. a Bb foot. Woodwinds tend to be the messiest with these things, so I'm not surprised Williams leaves it vague for them to fill in details. He must trust someone specifically at JoAnn that is a beast at woodwinds. That being said, I'm pretty sure most composers aren't sophisticated enough to care. Can't tell you how many times I've been handed professional parts from composers who should know better that are writing non existent Bb's for oboe or thinking anything above a high D is going to sound decent. I've seen the same for string double stops that are impossible and no regard for the difference between that and a divisi. Finding people that know their stuff these days is rare, and the arrogance of some composers to "just make it work" is infuriating. That is where I tend to disagree with the reverence for composers intent that permeates the industry. Tell me about it... I graduated from one of the best conservatories in the US and our orchestration class was a joke. The teacher barely knew how to engrave a part, let alone basic ranges and questioned standard doublings all the time. I had to dumb my work down to satisfy her.
  4. JoAnn Kane's Mark Graham Interview on orchestrating for Williams

    Depends on the workflow. Williams needed copyists with some ability to fill in details more than he needed orchestrators. He is really familiar with ranges, tone colors, and blend, no doubt from all his years on a podium as well. There are tons of composers who don't know that level of detail, and thus need someone to flesh out their ideas more clearly, or they work in a team environment where they do more signing off of material than actually writing it and call those people "orchestrators." Orchestration and Copyists have been a dying art form anyway. It was sort of the middle man built by the pace required in Hollywood. Finale is so quick now, most competent composers don't need much help. Finale even indicates now when a note is out of range for a particular instrument while you are writing. The biggest annoyance is formatting the parts for page turns, anything that might overlap accidentally, and printing. For that JoAnn Kane is a blessing, as most printers have NO clue how to do music.
  5. Yeah... I would say from doing years of classical music study, this is where about 70% of classical musicians fall. Williams = "Pop-Classical for the masses," not actually innovative writing. Williams is clearly an Opera and Ballet lover, and there are so many similarities in in writing from standard romantic/neo-romantic Operas and Ballets. It's getting better though, since a lot of musicians these days went into music because of Williams. That and management as well as the musicians are starting to realize the value in his music for selling out strict large-orchestra instrumental music while not having to invite some incredibly expensive soloist or bring in vocalists. The cost is already built into the union contract and you might just have to pay some doubling fees and bring in some ringers to give the brass some body and pay a second principal trumpet to give the lead a break.
  6. http://www.finalemusic.com/blog/may-the-fourth-spotlight-on-joann-kane-music/ Interview with Mark Graham from Joann Kane was posted today in honor of May the 4th. He talks a lot about how Williams orchestration process has changed, and a fun anecdote about a Harry Potter cue that Williams forgot to write in on a sketch that he needed string parts for: Sound's like Knight Bus? Any other ideas? Tons of little tid-bits for discussion, so I thought I would start a thread.
  7. John Williams is untouchable

    Williams is a modern day Gershwin that took progressive jazz and standards writing and dressed it up for orchestra. I'm constantly amazed at his depth of compositional language from a chordal stand point and the areas he explores. It's much easier to analyze his works from a jazz perspective than from a traditional theory. He uses keys to influence mood unlike any other composer for film. It's quite clear he has a deep love of ballet, opera, and tone poems. His awareness of the standard rep and even the more esoteric material has certainly informed his orchestrations and given him this incredible paintbrush to use for every film he works on. From a music stand point, it's his timbre and tone colors that make his style so unique. As well, his ear is impeccable as a conductor. I have never regarded him as a good conductor (and I have no doubt that was part of the reason Boston and him had some trouble at one point) but he has great ears from the podium and no one can create as clean a take as he can so quickly. He does have the best playing for him, but that is only part of the equation. But by far my favorite thing about Williams is his humility and somewhat self loathing quality. He writes what he thinks is needed for the film and never boasts that his work is any good. He simply enjoys the journey of writing, refuses to let the strict classical community get to him, and continues to explore his own voice while staying true to the core of his style, even at this age. His work ethic is incredible as well and given his personality and love for writing, I have no doubt that some of his best works and sketches will be discovered in a filing cabinet labeled "little nothing works." It's sad that I really don't see anyone as complete of a musician as him coming up through film. He has been blessed to have a name that allowed him to blow holes through most fast pace production environments and consider the music as a complete package that needed time, but the younger folks don't have this liberty. It's probably the true reason he doesn't work with any young directors aside from the price. Overall, I think his work will be looked upon for centuries as the culmination of the symphonic film score era. I hope someone close to him can encourage him at this age to take on a protege to learn some of his shortcuts, discussions with directors during spotting, and learn some more detailed insight to the process so we can continue truly symphonic scores that actually match film moving forward.
  8. Any one seen this before?

    Humm...recording session leaks... As a composer/conductor, would have loved to know about those sooner!
  9. THE BFG OST ALBUM Discussion

    @king mark I went again last night and found a few glaring unreleased segments. There are probably about 20 seconds missing when Sophie first gets into the BFG's hut of simple theme material (so not a big loss). There is an oboe statement of Sophie's theme I didn't recognize when he turns around in his rocking chair. but the biggest omission that is beautifully orchestrated is a huge segment of oboe solos, flute and more "wagnerian" string writing when Sophie is brought back to the dream cave. It's probably a minute or more of unreleased music I think. There is also some transition material out of the Rule Brittania material left out, and some flute and harpsichord material left out during the Breakfast Scene.
  10. THE BFG OST ALBUM Discussion

    Good catch. That's a shame then... I didn't know the OST that well going in, so I missed that one. Very strange decision for the album.. Especially when he already made the choice of putting in an overture. The end of the album sort of lacks. Needs that theme in Giants Netted
  11. THE BFG OST ALBUM Discussion

    Agree completely. Her theme is so simple and gentle. It's genius in a "holding back" way. As well, I think he sets us up thinking it will be a dazzling theme at somepoint to match the size of Sophie's hopes, but the film makes a left turn to have a bittersweet end, and Williams shows you that he really wrote a lullaby to comfort Sophie for the rest of her days, not a sweeping motif for her dreams. The treatment of the motif grows as she does as a character. I think it's great of him to hold back and I feel that it is the creative, artistic, and humble approach to this score that makes it great.
  12. THE BFG OST ALBUM Discussion

    Okay, glad we got the slower stuff covered. Wondering about the transition material that ends at the beginning of that clip. It goes on for about 10 seconds prior to that? Didn't see credits.
  13. THE BFG OST ALBUM Discussion

    @TheWhiteRider the beginning of Sophie's Future. It's not bassoon or English horn for sure.
  14. THE BFG OST ALBUM Discussion

    No, I don't think so. Just the baroque "source" music from the brunch with the Queen. I'm almost certain it's his. as for the development, no, there isn't much unreleased (it's actually pretty silent for a good bit of the beginning), but without the overture track, the theme isn't presented immediately, but it does get revealed in full earlier than usual. He also plays against the tolling bells of Big Ben, which aren't in the CD, but are really musical and what he plays off of. More of an editorial omission than unreleased stuff.
  15. THE BFG OST ALBUM Discussion

    Just got back from seeing the film and I've listened 3 times. The orchestrations are so colorful. He packs more colors per bar than most impressionist composers and I'm just amazed. Sophie's theme, In my opinion, is a lullaby, which would follow his typical logic. It is so evident because of its simplicity, repetitive nature and relatively small tessitura. It tries to be pentatonic as most lullaby's, but he gets bored of that harmonically. He also develops it in the film a lot more than the CD if you listen to the order. You don't really get a full theme reveal in major until the end of the first act. This will go down as one of his best orchestrated films yet. The flute writing is incredible (and even better played... Brava!!!) the oboe work is great too. Woodwind writing is just magnificent. I'm so impressed that he was able to get those little unison flute lines to line up for the dreams and move straight on to the next material without dropping the idea. Just wow... Also, they should have kept Big Ben in the CD! As as for source music, I love the choice. Hail Britrania has hints of his melodic/rhythmic style, so it's not out of place. Bagpipes are snoozers. The real question is this: is that baroque/Renaissance music his? I think it is and wish it were on the CD... The film itself just lagged in places. It threw us into the world really quickly, only to take over an hour fascinating us by said world, and then hurrying as quickly as possible to wrap up the story. It is a great story and a great book, but the script and editorial choices weren't distributed correctly to keep interest. within those long scenes, they jump quickly from topic to topic, and transitions from scene to scene are quick, so John really didn't have time to play much, thus the sad reality that we don't get a big theme moment like ET or Harry Potter. It was quite dialogue heavy as well and didn't rely on as much visual story telling that Williams can throw in a motif. Overall, love the music, not a big fan of the film. I think Williams had read the book, loves it, but knew it had a pacing issue and I can hear him struggling to save it, but not having the silence or opportunity to do it. He was boxed in and did what he could and certainly had a fun time with it regardless. A for effort! Hope it's not the last children's score we get... He is too good at this style! Definitely. Clarinets in A I think for a darker sound. It sounds like Alto flute as well, but maybe unison? Definitely more than one flute, but I can't tell if it's just 2 players with one that has a darker breathy sound or it is a different instrument completely. There is also a few articulations that make me think there could be a little glock with rubber mallets or maybe even vibes. Something metallic anyway extremely soft.