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  1. Very nice! I prefer it to the final film version. I guess the scene was changed, hence the cue had to be rewritten.
  2. I agree with what you wrote. By association of ideas (maybe also due to the passages being in the same key), this sequence reminds me of another use of a bVII chord, this time unmistakeably jazzy, occurring in "The Fountain Scene" from The Terminal. It happens here between 4:41 and 4:42, The beautiful melody is presented in Db major, and in that bar it goes F - Db - Ab - Gb. Under the Ab (second half of the bar), we find a chord of Cb7 with the additions of the major 9th and the major 13th, i.e., the chord is (bottom to top): Cb, Gb, Bbb, Db, Eb, Ab. In enharmonic notation, easier to read, it would be B, F#, A, C#, D#, G#. Now, here the chord is definitely complete (6 notes!), but apart from that, it reminds me of the ROTJ case we have discussed. The harmonic resolution is different, but "not too much": it goes on with the chord of Bb min / G natural, which contains the key notes Db and F, as the Db major chord in ROTJ (the F reached melodically, also as in the ROTJ case). I perceive a similar harmonic strategy beyond these two examples. That whole theme is actually a wonderful example of interesting harmonies.
  3. This is true. However, my opinion is that bar 9, that we are discussing, is indeed ambiguous (and should be just considered and labelled as such) because it is neither strictly Gb min (because of the B), nor strictly Cb7 (because of 1 - the absence of the important note Eb, 2 - the presence of the Db, which is of course a pedal note but it also reinforces the Gb min feeling, and also, to my mind, 3 - the doubling of the A=Bbb, one of which in the bass). It is "both of them" at the same time, in a sense. It is true that the harmony is clarified at the points that you mention as Cb7 / Db, because the Eb appears, but the ambiguity of that point, at bar 9, remains. If we compare with other instances of the theme, then we find that bar 5 of the cue "13M4 - Leia Breaks the News", where the theme is stated in F major, has the chord (bottom to top) F-Db-G-Db-F-Bb, which is of course Bbmin6 / F... and then, again, Eb7 / F two bars later. Bar 15 of the cue "9M2 - Brother and Sister", where the theme is stated in A major, unambiguously has the chord Dmin7+, and Dmin6 two bars later, which are both very different from G7 that would be the equivalent of Cb7 in the case at hand. So, the point is that JW did not assign a fixed chord to that bar of the theme, but varied the harmony almost each time, keeping the common features of the lowered 6th degree that descends to the 5th degree of the scale, and the 4th degree that descends to the 3rd degree. The rest changes, sometimes giving chords of the family of minor iv, sometimes giving bVIIb7.. If we absolutely want to assign a chord symbol to bar 9, that should just be used as a "list of the notes", then I propose either Cb7 (no 3) / Db , or Gb min add4 / Db . According to the "classical" rules of harmony, the problem with the first one is that the 7th is doubled, while the problem with the second one is that the add4 does not resolve. I think what you discuss is a possible explanation of the "psychological" effect of that arrangement of notes (an effect which is probably due, in part, to cultural background, i.e., we have all heard hundreds of Romantic pieces with minor iv - I, and it's quite natural to interpret things in those terms, maybe too often). As to how JW decided to put A and B together, as I said, I am a strong supporter of the theory that it just came to him at the piano. I believe that playing the piano strongly shapes the harmonic ideas of a composer in a certain direction. Maybe he wanted to hit the A alone, slightly misplaced the thumb and hit both A and B, and decided that he liked it more
  4. Not really, because of the absence of the third (D# = Eb). I personally hear it just for what it is, i.e., Db-A-B-A-Gb. Trying to give a name to it may only have the aim to describe its harmonic function: with respect to that, by simplifying I would call it mostly a Gb min chord, because of its main melodic lines (the A descending to Ab and Gb descending to F). When I mentioned the presence of notes common with the chord B7 = Cb7 I was just trying to describe in words what "sounds peculiar" about that chord, as also @Ludwig did. I mean that the B natural does not sound just as a random added note, but it has some relation with the rest of the chord and, since the B is in the bass, its role as a building block of B7 partially comes out. That's also why I do not hear it as a Amaj9 chord as you suggest, because the 9th (B) is too close to the bass to sound as a ninth, Also, it does not behave functionally as a 9th (it would have to descend). The "Gb min + something" interpretation is also prominent, in my opinion, because the three notes of Gb minor (Gb, Bbb = A, and Db) are in key positions within the chord: the Gb is in the melody, the Db is in the bass (so they both stand out), and the A is in the middle register but, very importantly, doubled in octave, which in my opinion weakens the B7 effect in favour of Gb minor (according to the "rules", you don't double a 7th). So, that feeling is quite strong: if I had, say, to write a lead sheet for a beginner who can only read major and minor chords, and so I would have to decide what note to omit, I would write there Gb min / Db, rather than Cb7 / Db. That said, I believe what Williams wrote is the kind of chord that comes out naturally "at the piano". I can easily see him putting his hands on the keyboard to harmonize that first bar, placing the thumb of the left hand so as to press down A and B together, and saying "That's it, baby". As in the case of that famous Rite of Spring chord (Fb major in the left hand + Eb7 in the right hand), it's difficult to describe in words all the harmonic nuances of piano-originated complex chord. That's why jazz can be so intriguing
  5. I knew about Prokofiev's Nevsky, I have the CD and if you go here you can even look at the score online (Ansichtspartitur, in the right column): https://www.sikorski.de/475/de/0/a/0/orchesterwerke/1033686_alexander_newski_filmmusik.html However, I would like to see a full sheet music release that can be bought as a normal book, just like what happened to Scott of the Antarctic. The same for the other scores that I've mentioned (and well, basically for any good film score, old or recent). Another composer whose scores could be released like that is Bernard Herrmann: almost everything has been preserved. And due to the various rerecordings, I bet a reasonable amount of this material has already been digitized. In the case of Korngold's Adventures of Robin Hood, the full manuscript score exists, but some pieces are either missing or incomplete, because it was preserved badly. The missing material was reconstructed for the complete recording, based on several different sources (including the sketches). As far as I am concerned, it would make a very good sheet music release.
  6. It does not have a specific harmonic function that can be codified according to standard namings, so I would say, indeed, that it's an added note to the Gb minor chord. Saying that it is the perfect fourth of the chord does not add information, as it does not behave in the way fourths generally behave. The particular effect is due to the fact that the B, together with A and Gb = F#, suggests a B7 chord without the third, so the ear is somehow undecided. However, I interpret the main harmonic line simply as Gb minor resolving to Db major, with the melodic resolution of Gb to F being anticipated with respect to the harmonic motion. The B is "colour" in the bass register.
  7. It is a fact that Morricone tends to have strong opinions, and sometimes he voices them out using strong words, that he later tries to soften (not always). However, if he really used the word "stupid" for the Tarantino movie, it really seems a bit too much, even for him. And I'm sure the title of the article is exaggerated! He cannot have said that.
  8. I had already heard many times his (right) complaint about Mission not winning, as well as his opinion about Tarantino and his use of music in movies, in tones that were only slightly softer than these. However, I wonder whether the translator from Italian to German did spice it up a bit!
  9. Well done! You will enjoy it. It's a great companion to the CD (also conducted by Yates). I hope at some point somebody will release similar complete editions for other old classics, such as Prokofiev' Alexander Nevsky, Korngold's Adventures of Robin Hood... I mean, this release is the proof that it should not be so difficult!!
  10. Mmm... I don't think so. It sounds very authentic!
  11. I have seen it a couple of days ago! But I cannot change my vote, it seems. Anyway, a couple of things in the score, that I was wondering about, now make sense. The movie, of course, is a bit dated, but better than I was expecting. The score is outstanding, of course, and I'll surely get the expanded edition.
  12. Score

    Details from Mike Matessino's London talk

    4. "... he is having an idea how to persuade him..." ... I bet he has convinced Daisy to ask for it!
  13. Fantastic concert. Probably the best renditions of the concert arrangements that I have ever heard. The players really gave everything, and I'm sure JW enjoyed it greatly.
  14. The contrabassoon and the bass clarinet were great at the beginning!