Jump to content

Loert

Members
  • Content Count

    1747
  • Joined

  • Last visited

  • Days Won

    20

Loert last won the day on May 15 2017

Loert had the most liked content!

About Loert

  • Rank
    Frequent Poster

Profile Information

  • Gender
    Male
  • Location
    UK

Recent Profile Visitors

5370 profile views
  1. Loert

    How would you rate "The Adventures of Han"?

    Adventures of Han is really good, one of the best "concert" pieces he's written this decade. Powell's score is outstanding as always of course! I haven't seen the movie, but based on what I've heard and the snippets I've seen I doubt I'll be watching it anytime soon.
  2. Loert

    The Composer's Thread

    I like it! It's coherent...and I like coherent.
  3. Love this statement the most:
  4. This has quite a jazzy feel to it: The ending is quite funny.
  5. Loert

    New JW Star Wars Galaxy’s Edge Music!!

    Interesting, but...is it just me, or does it sound like it's being played slower than it should?
  6. I guess the main revelation for me was seeing just how widely that beginning motif in the horns is used throughout the score. I didn't really pay attention to it before seeing the notes on paper, but it's everywhere. One thing I found peculiar was the voicing of that last "kiss" chord towards the end of "A New Life" (the loud one here at 2:08). I always thought that it felt incomplete in some way, or at least that it made the music feel that it was still heading somewhere. Well, I think I finally know why. Typically, with tutti orchestral chords, the rule is that the brass, wind and strings fill out the entire pitch range on their own (so, if you were to isolate the brass, you would have the trumpets at the top, and the tuba playing the bass note, with trombones and horns in between - you wouldn't just have the trombones playing, for instance). In this case, Goldsmith had the wind and brass play the full range, but he leaves a big gaping hole in the mid-range of the strings. Basically, the violins play A#4 C#5 F#5, the basses play F#0, and the cellos play F#1. That's it! There's nothing in between F#1 and A#4 - that's over three octaves. The violists aren't even playing anything at that moment, even though they were playing during the crescendo a few seconds prior. What this does I suppose is give the brass and wind more dominance over the chord sound, and it seems to give the chord a more organic feel, than if you just had the entire string section playing as well. I've never seen anything like it - usually you might see just the high strings playing, or just the low strings - but not the high and low with a gaping hole in the middle (though I believe Stravinsky may have done stuff like that...)
  7. Just came in the post. I think I know what score I'll be listening to this evening!
  8. So first of all, I see this progression as basically diatonic so I would rewrite it in its proper enharmonic form: however I think it's easier to analyze in C# major: which sounds like this: https://picosong.com/wX9m7 Now, personally, when I listen to this excerpt, what I feel as the "base harmony" is this (pay attention to the second bar for all the following exhibits): i.e. the Gb minor (or F# minor) which @Score alludes to. This sounds like this: https://picosong.com/wX9u5 So what about the B in the original piece? What does it mean? I think that it could be understood as a "compressed" suspension, i.e. a compressed version of this... ...which sounds like this: https://picosong.com/wX9uQ... (note: I removed the anticipatory E# in measure 2 so you can hear the LH clearer). ...but without the upper C#: which sounds like this: https://picosong.com/wX9J4/ I think that this "sound" is, on average, more familiar to people here - all that Williams does is join the A and B together (compare this audio with the first audio excerpt). Note, I'm not saying that this is how Williams got to the B in the first place (with an A and B separated apart), but it is one way of thinking of the meaning of those two notes. Now, I guess the deeper question I ask myself is, why did Williams join the A and B together? I think there are different angles from which you can wrestle with this, but the best way is to realise the slowness of the change in accompaniment. @filmmusic 's post makes this really obvious: the accompaniment never changes quicker than every bar - it only goes faster at bar 17. So perhaps one can say that, Williams set off from the start to have a very static accompaniment. This, of course, is the "gimmick" of the piece - it starts very static and slowly gains movement until it reaches a climax, then calms down again, A.K.A. How To Write Romantic Film Music 101. Now, slow, static chords are rife for opportunity with so-called colour tones, which in this case may be the B - but I think in this case, one may understand the presence of the B easier by looking at the last exhibit above and seeing the B and A as a suspension "glued together". This is at least how I understand it. Lehman's Cb7/Db is interesting but ultimately I don't think it explains much. If you were to order the pitches in ascending order, you would get A B(Cb) C#(Db) F#. The Cb has a note a tone apart on either side - this just makes it an unlikely tone to treat as the tonic, IMO, and an unhelpful one. I more side with @Score's interpretation, that it is something like a Gb minor chord (iv), but with an added B(Cb), which I interpret as a "ghost" of a suspension. (I don't know what those two pictures are doing down there, I can't get rid of them... 😳 )
  9. Absolutely thrilling! Love the bit from 8:48:
  10. You completely missed my point. That is the point I was striving for.
  11. I'm not sure if your comment was in jest or not, but I want to know this: The vast majority of athletics world record holders are male. But let's say that this should really be 50/50 between the sexes. Would an appropriate response to this be: "Perhaps women should just train harder?" If you say it isn't an appropriate response because you have to at least factor in their difference in genetic makeup, then I could turn the point around and give a similar rebuttal to your "just commit less crimes" response. Ultimately the priority is to lower the crime rate across the board. If 50/50 representation were the more desirable goal, we could just as well encourage women to commit more crimes. Similarly for athletics the most important thing is that everybody trains to the best of their ability, not that some demographic should train differently to the other.
×