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    • Jay

      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.
rpvee

The Quick Question Thread

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Nobody blocked you Steph... you are the... soul of this forum!

 

Do you think it's Jay that keeps us together like this?

 

Alas, he's more machine now than man.

 

No, it's you Steph!

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On 11/25/2017 at 9:57 PM, Bespin said:

Allez, on efface l'ardoise.

 

Resetting my ignore list to zero... because I even don't rememeber why I put you on my ignore list.

 

 

 

If you would have included Stefancos on this list, you had been wondering why nobody is writting on this forum any more.

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@Ludwig, what would you say is the origin of this theme?

Is it derived from any previous theme or is this something new not heard before this cue?  I also hear this motif further used and developed in Hyperspace a few minutes later as you can hear here:

 

One of the things I love about ESB score is how organic the development is.  The themes go through quite a lot of dramatic exploration so the first act is quite lyrical but the last act is quite dramatic using the same material.

 

An example of what I mean: Han Solo and the Princess (0:15 to 0:30):

 

compared to this very intense variation that repeats the opening phrase (fragmentation, transformation, extension, modulation, etc.):

 

So my question is, the "rescue from cloud city" motif, is that derived from something pre-existing or is it something new?  If new, why do you think new material was necessary rather than a dramatic variation of either the yoda theme (used throughout the Luke's conflict with vader) or something that already has been established?

 

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On 12/5/2017 at 11:10 AM, karelm said:

@Ludwig, what would you say is the origin of this theme?

 

[...]

 

So my question is, the "rescue from cloud city" motif, is that derived from something pre-existing or is it something new?  If new, why do you think new material was necessary rather than a dramatic variation of either the yoda theme (used throughout the Luke's conflict with vader) or something that already has been established?

 

 

Before TFA was released, I went through the six previous films and soundtracks and catalogued the themes, giving them names if ones didn't seem to exist already. This one I called "Rebels Struggle" because it only appears once Luke is hanging from those bars beneath Cloud City and is consistently associated with Luke and the Rebels as they make their final escape of the film. I did not hear it as a derivation of any other theme in the score, though like a few other themes, it brings in several aspects of a funeral march - the slow four-beat pulse, the minor key, the "lamenting" melody of scale degrees 5-6-5. Similarly funereal themes include one I call "Empire in Control" and another I call "Vader Succeeding", this last one obviously based on the Imperial March.)

 

When trying to make sense of why a theme would or wouldn't be derived from another, I think we always have to remember that, to a greater extent than his contemporaries, Williams' music is tightly knit to the ever-changing emotional implications of the film. So in this case, having this new theme appear only after Luke has lost the saber fight points up the direness of the situation: the Rebels just lost Han to the enemy, and now Luke has not only lost, he has barely made it out alive. The new theme we hear at this point acts as a kind of concluding theme that ends the film on a dark and somewhat hopeless note. Had the theme instead been another form of the Imperial March to show Vader's dominance over the situation, I think it would have been less effective since something new near the end of the film can signal conclusion far better - cadences in music, for example, are usually based on a different melody and different harmony that what precedes them to distinguish endings from beginnings. And with the emotional qualities of the theme, that sense of conclusion comes with feelings of gravity and hopelessness that are a perfect match for the drama at this point.

 

In short, it's a subtle but brilliantly effective tactic to stir up just the right emotions at this point in the film.

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32 minutes ago, Ludwig said:

 

Before TFA was released, I went through the six previous films and soundtracks and catalogued the themes, giving them names if ones didn't seem to exist already. This one I called "Rebels Struggle" because it only appears once Luke is hanging from those bars beneath Cloud City and is consistently associated with Luke and the Rebels as they make their final escape of the film. I did not hear it as a derivation of any other theme in the score, though like a few other themes, it has brings in several aspects of a funeral march - the slow four-beat pulse, the minor key, the "lamenting" melody of scale degrees 5-6-5. Similarly funereal themes include one I call "Empire in Control" and another I call "Vader Succeeding", this last one obviously based on the Imperial March.)

 

When trying to make sense of why a theme would or wouldn't be derived from another, I think we always have to remember that, to a greater extent than his contemporaries, Williams' music is tightly knit to the ever-changing emotional implications of the film. So in this case, having this new theme appear only after Luke has lost the saber fight points up the direness of the situation: the Rebels just lost Han to the enemy, and now Luke has not only lost, he has barely made it out alive. The new theme we hear at this point acts as a kind of concluding theme that ends the film on a dark and somewhat hopeless note. Had the theme instead been another form of the Imperial March to show Vader's dominance over the situation, I think it would have been less effective since a something new near the end of the film can signal conclusion far better - cadences in music, for example, are usually based on a different melody and different harmony that what precedes them to distinguish endings from beginnings. And with the emotional qualities of the theme, that sense of conclusion comes with feelings of gravity and hopelessness that are a perfect match for the drama at this point.

 

In short, it's a subtle but brilliantly effective tactic to stir up just the right emotions at this point in the film.

 

Very interesting observations.  I like the idea of bringing in new material based on pre-existing ideas but with new twists during the third act especially after an act of villainy has been perfectly executed. 

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10 minutes ago, Fal said:

So, @Sharky @TheGreyPilgrim @karelm @Loert what does this mean? Sheetmusicquestion.png


They're both treble clefs. The bottom one has some additional marking overtop of it, but it's impossible to say what it is without a bit more context.

 

And hey, I don't get a shout out? What am I, chopped liver?!

 

Kidding. These things can be very hard to decipher. Jaws, anyone?

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11 hours ago, Fal said:

Anybody else able to decipher the hadnwriting for these chords?

Em?, Eaug? and FnM9?

Chordquestion.png

 

Em, Emin6, and the last one looks like F(half-diminished)minor7, but that would be a redundant symbol, so could it be 9 instead of 7?

 

If these appear above a part, the notes should confirm the symbols.

 

EDIT: Actually the last one is F#m7.

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Does JWfaner own Cliff Martinez's score for TRAFFIC?

I ask because, at the end of the last track (Eno's ASCENT) there appears to be approximately ten minutes of...well...nothing!

Is this right? Has anyone else got these ten blank minutes? Am I annoying every single dog in the neighbourhood?

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Absolutely there is, yep.

 

The awesome version of Gandalf's Theme as he draws his sword when entering Dol Guldur?  Unreleased.

 

Opening of the Forest River chase?  Unreleased.

 

Lots more stuff all throughout the whole film unreleased.

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