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aviazn

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aviazn last won the day on April 30 2016

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  1. Yes, it's the Leia's theme progression featured in the TROS teaser trailer (and reprised in the final trailer, in a slightly different form).
  2. It’s true, I’d rather listen to Star Wars Kinect than most of Galaxy’s Edge! I know I’m an outlier on GE, but all that slow dithering around in the strings doesn’t do much for me. But it has its moments, I’ll admit.
  3. Naw, that’s not JW. And it sounds synthy, right from those first string hits. I rate it lower than Haab and Newmaster, though higher than most of Galaxy’s Edge.
  4. I hear ya. But for a trailer composer, “commercial concerns” are kind of the point, and it is their job. I’m with you on the decline of the quality of film music in many respects, but I’m not convinced there was ever a golden era of original, non-JW Star Wars trailer scores. The music in the 1976 trailer isn’t much to listen to. I’m just glad we have JW’s score to look forward to, and no trailer is going to take that away from me.
  5. I’m with @TSMefford. I thought it was fun. Almost a throwback! Those chords were all over film music ten years ago, too (Children of Dune, Narnia, the Sunshine Adagio). Honestly, if I were a trailer composer, a neat re-harmonization like this would be just the kind of thing I’d be proud of. What else are they supposed to do?
  6. Inspired by Yo-Yo Ma's interview to @Maestro: 1. What does the poetry of Langston Hughes mean to you? 2. How has your background in jazz influenced your film and concert work? 2. What do non-black musicians owe to the black community for the music that they’ve given all of us, that we profit from?
  7. Wow, am absolutely loving this new take on The Chairman's Waltz, with such a quicker tempo than all the previous incarnations. It's the first one that legitimately feels like a waltz—fast enough to dance to. I absolutely adore Memoirs (both the original score and the cello suite) but never quite connected to The Chairman's Waltz. I thought it was the weakest of the ideas in the score. But this has completely changed that. And nice to see JW decide on a faster tempo for once, going against his ever-growing trend towards slower ones.
  8. Yes, a trailerized rock version of JW’s theme is still the go-to theme on the NBC broadcasts.
  9. Like that interview he did with Julie Andrews and Blake Edwards about Henry Mancini? Yeah, I'd watch that show.
  10. JJ baby, I was thinking that like, maybe this Kylo kid's theme could be like, a little like his granddad's theme. Like, throw in some brassy tritones, whatcha think baby? I kinda wish the interviewer had pushed him a little more on that political stuff at the end. He really starts to make allusions to Trump and global populism there. And this quote about climate change—this is the most John Williams-hipster-cool cat quote about global warming I can possibly imagine.
  11. When did he, like, start talking like he's like, a millennial or something? Seriously, that extended transcript is a great interview. Even if it treads quite familiar ground, there are little twists and thoughts and insights that I haven't read before—not unlike the Across the Stars album itself. Makes you wonder how much else is left on the cutting room floor when these interview segments are produced. Probably every producer hears him tell the Schindler's story and says Yes! That's a great story, that's definitely going in. To be honest though, I love that he still actually delights in telling that damn story. It's kinda adorable that he prefaces and ends the story by saying that he loves to tell it.
  12. This is more George Winston than jazz standard, but I still think it’s lovely: http://web.media.mit.edu/~mike/music/hawleyconcert-1986/mp3/07-Improv from Wonka.mp3 From this page: http://web.media.mit.edu/~mike/music/ Absolutely love this. Reminds me of this video: https://www.nbcnews.com/video/john-williams-plays-brian-a-special-tune-44467779920
  13. Absolutely agree, crumbs. I think the maturity of Rey upon arrival is reflected by her theme not being merely a motif or melody or a signifier, but a piece with multiple elements and lines. And Williams hammers that home by making the very first time the theme appears in the film essentially a full, concert-suite-level statement—not doling it out bit by bit and developing it over the course of the film as he so often does. The theme arrives fully developed, as does Rey as a character. I can't remember any other JW character theme—especially a prominent one in Star Wars—that gets such a full treatment in its very first appearance (well, aside from Luke's theme).
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