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Official JWFan mock ups and fan-made recordings thread!

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Continuing Data's conversation, I would look at the key signatures of each part. If the key signature of a non-transposing instrument, like the flute in C, is Bb, then the instruments like clarinet, trumpet, and horn would show key signatures other than Bb in a transposed score. In a concert pitch score, everybody would be in Bb.

This is useful in more traditional sheet music, but it actually doesn't help with film scores, which are generally written without any key signatures whatsoever. The accidentals are just written into each part as needed. :)

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Continuing Data's conversation, I would look at the key signatures of each part. If the key signature of a non-transposing instrument, like the flute in C, is Bb, then the instruments like clarinet, trumpet, and horn would show key signatures other than Bb in a transposed score. In a concert pitch score, everybody would be in Bb.

I wouldn't say that's always reliable, in my experience. A lot of composers and orchestrators (especially film scores) leave out key signatures for transposing instruments, and in general. Usually relying on accidentals.

Edit: Data got their first again. GOD DAMMIT!!

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When I was engraving some of the Jaws cues I actually considered making a mock up of the Typewriter Chord cue, but it was really so unremarkable that I didn't. I mean, it's a swell chord and all, but that's really about it. If you're really interested though Jason I can pull all that back up and and make it.

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Well, I certainly wouldn't mind hearing it. The list, however, is simply a list of EVERYTHING we have sheet music for but not recordings of, regardless of "importance"

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All right, I don't think anyone else has done a mockup of this, so I gave it a shot! There are four bars (52-55) that are cut out of "Through Chinatown" in both the film AND the albums. As you can hear, they're quite similar to the four bars that come before them, which ARE in the film and albums. Note that the rather quiet staccato trumpet note at the very end is intentional - that's a sixteenth note that comes right before the downbeat. It sounds weird on its own like this, but if you get the timing right with the music that comes next, it sounds totally natural. Just don't try to line up that note with the downbeat, haha.

http://www.multiupload.com/WSYUNGYB5O

This is my first time using a DAW (Reaper) and a real sample library (EWQLSO) to make a mockup of unreleased music (as opposed to the sounds that come packaged with Finale), so while I'm quite happy with how it turned out, I'd definitely appreciate critiques. :D

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Sounds good, looking forward to hearing it integrated with the rest of the cue. What is the timestamp where it would go in the original cue if I wanted to attempt the edit myself?

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Thanks! Let's see...in the Concord release, this would start at about 0:57, right before the trumpets come in and hold that note. Of course, that doesn't take into consideration the other two missing bits that can be taken from the DVD rip, so be careful there.

Also, here's the unused/unreleased beginning of "Good Guys Arrive" from ROTS. This one just replaces the tracked music from "Boys Into Battle."

http://www.multiupload.com/A47WCVSFQ1

EDIT: Actually, use this version instead. It sounds more natural when you edit the rest of the cue into it.

http://www.multiupload.com/CJN48KXGTP

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The rules allow for the posting of fan-made mockups. You just can't post the actual recordings or sheet music or anything. EDIT: Of course, Jay did post a screenshot of half a page of sheet music, but your complaint didn't really seem directed at that.

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Whatever. If you don't like it then stay out of the thread.

If you have a problem with the way I run the board then please take it up with my privately, and stop derailing threads. Thank you.

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Posting actual recordings is a much bigger threat to the industry than posting a few home-brewed demos, Steef. Also, what Jay said. :P

Also, use this version of "Good Guys Arrive" instead of the one I posted...I tweaked it so it would transition better into the rest of the cue.

http://www.multiupload.com/CJN48KXGTP

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Anybody got a decent mockup of the missing bars of the Elevator Scene? I had one but it was incorporated directly into an edit.

EDIT: Just edited together Good Guys Arrive and it flows very well! Good job, Datameister!

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I actually wonder if anybody has ever given a whack at the missing pieces of the Duel of the fates orchestra-only sections that we're still missing. It'd be very complex and time consuming to do them though.

@ Datameister: I edited your Good Guys Arrive intro into my cue and it flows perfectly. Dunno why Lucas saw the need to replace it.

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There is one for Duel of the Fates that I am in possession of, yes (although it includes all the percussion the album version omits, and the starting ostinato on clarinet instead of strings)

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Whatever. If you don't like it then stay out of the thread.

If you have a problem with the way I run the board then please take it up with my privately, and stop derailing threads. Thank you.

Is this your way of saying that i am technically correct, but you'd rather not talk about it openly.

Also, please don't tell me what threads I can or cannot visit. Thank you.

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I think that may be down to the interpretation of the conductor - there are versions that have the strings only performing the ostinato motif (one such is done during a Williams concert in 1999, which can be heard on GoodMusician's set), and versions with the clarinets only (like the unreleased version recorded for TPM).

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Sorry, I didn't have time to respond to your email cause I spent the rest of the night trying to get Reaper and EWQLSO to be friends

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I think I'll be able to figure it out tonight

Exchange of Glances sounds good. I think the strings and horns could be... "punchier" maybe?

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Thanks! Perhaps you're right...I was debating how mellow a sound I wanted with those, since it's four horns, but they have no dynamic marking, and everything else is marked mf (slightly loud, for non-musically-educated folks). It wasn't sounding quite right with a brighter, harder sound, so I dialed it back a bit, but maybe that'll be worth revisiting at some point.

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I'd guess it would be hard to figure out the exact sound for a cue like this that was completely unused.... I guess the only thing to compare it to would be "The First Supper"

It must be easier to do stuff like the missing bars from Through Chinatown, since you're just trying to make it blend in with the bars immediately before and after it

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For sure. I mean, when Williams isn't writing anything too unusual - and when the conductor's score is really thorough and detailed - it's usually not too difficult to ascertain what he was going for, but ambiguities can happen, especially when you're dealing with an exotic-sounding cue and missing dynamic markings. :P

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Makes sense!

So Joe, since you've done 1m7/2m1 Through Chinatown [bars 52-55] and 5m2b Exchange Of Glances, can we assume you're also working on 2m3b Snowbank Sweetener, 5m1 Entrance Of The Boy King, and 9m2 Willy In The Fryer?

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Well, I'm working on "Entrance of the Boy King" right now. I already put together a sort of mockup of "Snowbank Sweetener", but I used bits of other recordings instead of actual sample libraries. As for "Willy in the Fryer", I'd really like to do that one, but I'm probably going to need another sample library or two before I really have the tools I need to make it sound decent, so it may take a little longer before that one comes to fruition.

One thing I'm not sure about is the unused ending to "The Indian Village." I did a mockup of it in Finale about a month ago, and it actually sounds pretty decent, but I might redo it. That one's tricky because I'm using parts of the DVD rip to fill out the sound and make it feel more realistic. Oh, and the original beginning to "The Child Returns" could probably be improved, though my Finale version isn't too horrendous. I was able to isolate and reuse the anvil sound heard in the DVD rip of the alternate beginning, and I'll definitely do that again if I redo that passage.

It's also going to be interesting to take a long, hard look at all the sacrifice music, including the sweetener cue. I want to figure out what's what and do some mockups of any missing material.

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Ah yes, I completely forgot about the ending of The Indian Village and the beginning of The Child Returns when I made this list. If you see anything else missing from the list, please feel free to let me know. I guess I missed some ROTS stuff - a bit from The Elevator Scene, maybe some others?

As for the all the sacrifice music, definitely read DarkLord89's amazing post here.

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There's likely other useful information around those pages of that thread as well, not to mention other people's mockups

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Sounds good! I think maybe the first 10 seconds or so could sound more... ethnic? Though I suppose it was intended to be played by instruments that wouldn't be a part of EWQL. The rest sounds really terrific, though!

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Thanks! I think those first 10 seconds actually sound pretty close, though, in terms of the instruments that are playing. There weren't really any sounds that I had to substitute with anything else. Well, okay, that's a lie...I had to use congas instead of tabla, and crotales instead of finger cymbals, but those are very similar in timbre, especially the second pair - and especially when they're buried in the mix like this. Really, there isn't much in the way of "ethnic" instruments here, aside from the percussion, which is honestly the easiest to convincingly replicate. In this case, that non-Western sound was supposed to come more from the way it's actually written, not the types of instruments being used.

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