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igger6

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About igger6

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  1. Am I crazy, or does Val (Thandie Newton's character) have a motif in "Train Heist"? It appears twice in a row beginning at 2:18, and I'm sure I heard it in the theater several times during that sequence. To my ear, it sounds a lot like Paul Smith's main theme to 20,000 Leagues Under the Sea (a.k.a. "Deep is the mighty ocean," which also works as lyrics to both themes).
  2. It's woven into plenty of cues. But Lennertz's main theme also bears some passing intervalic resemblance to it, particularly when being twisted into a minor key and so on, so it can be hard to distinguish them unless you're paying full attention.
  3. Underscore finally finished their series on the first movie this month, and it really elevated my already high opinion of the score. As the Brueggeman brothers pointed out, hardly a measure goes by that isn’t touched by the score’s jazz texture, no matter the emotional content of the scene. I agree that it barely even sounds like Giacchino—and I like Giacchino’s regular tropes, too!
  4. Has anyone attempted a comprehensive listing with YouTube links of the big statements of Powell's major themes? I ask because I have yet to identify L3's theme at all. Also, does that awesome, eminently Williamsy military motif in "Mine Mission" and "Break Out" have an official association, or is that a one-off Kessel melody?
  5. Wow, this didn't jump out at me on previous listens to The Patriot, but it rocks! Note the prefiguring of the Han theme at 2:32.
  6. This whole movie/score/album is a triumph. This is literally the best thing a JWFan could hope for in the continuation of the Maestro's musical legacy in the franchise. Powell veers a bit into RCP percussion, but I think it usually works for the vibe of the movie, and he brings the melodies so much more satisfyingly then Giacchino did in Rogue One (though, for the record, I still think Gia has a great Star Wars score in him if he gets more than three weeks to write it). And then there's JW's contribution, which grounds the movie in a perfect Star Wars sound while dovetailing nicely with Powell's themes. This is amazing. I just wish the could have made it onto the album. I'm still thinking I hallucinated that entire scene. What a great ride. If we could carry on this system of Williams supervision for as long as it can last, I'd be a happy camper. If not, just give Powell the keys.
  7. Actually, there's an in-universe precedent for that title...
  8. These performances and recordings are a home run—masterfully faithful, but better-sounding recordings than the (mainly BPO) versions on the Greatest Hits 1969-1999 set that I think of as "standard." UPDATE: OK, strike one. This version of Schindler's List is blown away by the 2Cellos version from last year. I liked the lower key and the instrumental tone better there:
  9. Haha, fair point. They're back!
  10. I get the charge of overcrowding that's being leveled here. We've got what should be two major fist-pump moments of theme recognition within about fifteen seconds of one another. That said, it's hard to judge this scene's placement in the movie. It might be a major moment worthy of those consecutive hurrahs. Chewie's theme sounds incredibly melodic, but it's beaten into submission by the mix, the sound quality, and my lousy speakers so much that it sounds like it's being played on kazoo. I see nothing worrisome here, but I'm a little sorry I watched it this way.
  11. Exactly! It does sound more hopeful. I didn't notice the difference until last night. Thanks!
  12. Has anyone commented on the version of the Rey’s Theme bell chords at the very end of TLJ’s Finale? It sounds like a different key or a new harmony or something compared to TFA, but I lack the musical erudition to assign any significance to it. Is it just a neat variation, or does this connect to anything else in the score?
  13. igger6

    Has the Star Wars Main Theme been altered?

    Has this actually been confirmed? You said you heard it in a podcast, but I don't see any other confirmation on this page. What's your source for this? That would be fascinating if true, but it does sound farfetched, as some have pointed out. If it's true, that also casts a new light on those rumors from a few months ago about JW supposedly disliking Giacchino's Rogue One and thumbing the scales for Powell to score Solo. Can you post a link to the episode?
  14. igger6

    NEW Score podcast. David W Collins is back!

    I'm loving this! And I actually appreciate the "lecture" format. Now I have @Erik Woods to play the music and tip me off to under-the-radar scores, Soundcast for industry news and conversation, Art of the Score and (maybe, someday, God willing) Underscore for in-depth looks at particular scores, and the Soundtrack Show for music education with awesome examples. Now everyone just start plugging each other so a rising tide will lift all boats! I never would have found Soundcast without Cinematic Sound or Underscore without Soundcast. P.S. I also have the IndyCast John Williams specials, but only every year or so when they have a guest.
  15. I wonder if he'll copy-paste this for Chicago in a few weeks—except, of course, that we'll get the world premiere of the new Solo theme. Not a bad set! "Sound the Bells!", which is playing as I type this, is probably the Williams concert piece with the highest ratio of sheer enjoyment to sheer number of plays. What a gem! Incidentally, we need a specific term for concert pieces that require none of the patience and sophistication required to appreciate true classical works, but rather are as superficially enjoyable and digestible as film score concert arrangements. (Concert sweets, maybe? Concert bites? These would also work great as names for JW-branded cereal. Over-Churios? B-)) I'd put "Sound the Bells!" in that category, plus maybe these: Hymn to New England Song for World Peace American Journey Liberty Fanfare Celebrate Discovery! Maybe there's a link between easy digestibility and the Maestro's propensity for exclamation points in titles...
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