Sharkissimo 1,973 Posted April 18, 2014 Share Posted April 18, 2014 Thought it would be a good idea for posters to suggest scores or particular themes they'd like Ludwig to tackle. Mine is Don Davis's 1999 score for THE MATRIX. Link to comment Share on other sites More sharing options...
Hlao-roo 389 Posted April 18, 2014 Share Posted April 18, 2014 Leonard Rosenman's Sybil Link to comment Share on other sites More sharing options...
Dixon Hill 4,232 Posted April 18, 2014 Share Posted April 18, 2014 Goldsmith's ST:TMP and POTAThe Search for the Blue Fairy and Stored Memories and Monica's Theme from A.I. Link to comment Share on other sites More sharing options...
Ludwig 1,120 Posted April 18, 2014 Share Posted April 18, 2014 Goldsmith's ST:TMP and POTAYou're in luck! After I finish with Morricone's OUATITW, I'm starting a 6-part series on Goldsmith akin to the Williams series I did last year, and the two scores you mention are two of the six.Thanks to Mr. Shark for starting this thread. I'm always looking for new ideas to blog about. I'm actually already thinking of next year and the big Episode VII and how to lead up to it nicely. How about a 6-parter on six SW themes, one from each film? Any other ideas on how to anticipate it appropriately? Incanus 1 Link to comment Share on other sites More sharing options...
Dixon Hill 4,232 Posted April 19, 2014 Share Posted April 19, 2014 Oh wonderful! I've been enjoying your blog quite a bit tonight, reading through your series on Zimmer's Batman, which I've now got to have a listen to. I'd thought a while ago to catalog and analyze the many motives in those scores, but I see you've beaten me to the punch on that one. Link to comment Share on other sites More sharing options...
Faleel 5,329 Posted April 21, 2014 Share Posted April 21, 2014 How about a analysis of the evolution of the finale/end credits arrangments of the Raiders March? (Raiders with the theme being contained to the actual end credits, TOD with the theme starting during the conclusion, and the counterpoint with Shorty's theme, TLC with the theme again starting during the conclusion, and the start stop nature of the credits arrangment, and KOTCS with the new ending) Link to comment Share on other sites More sharing options...
Ludwig 1,120 Posted April 21, 2014 Share Posted April 21, 2014 How about a analysis of the evolution of the finale/end credits arrangments of the Raiders March? (Raiders with the theme being contained to the actual end credits, TOD with the theme starting during the conclusion, and the counterpoint with Shorty's theme, TLC with the theme again starting during the conclusion, and the start stop nature of the credits arrangment, and KOTCS with the new ending)Ooh, that's another good one! It's nice, too, that I already have the post on the March itself as a starting point, so it's not as daunting as it might otherwise be. It's been added to the list. Link to comment Share on other sites More sharing options...
Sharkissimo 1,973 Posted April 24, 2014 Author Share Posted April 24, 2014 I think Zimmer's score for THE AMAZING SPIDER-MAN 2 is worthy of an analysis. Particularly the way he uses pedal point, suspended chords, the quintal triads and slides in Harry's Suite, the Mixolydian flat 7th (common to pop music), Lydian sharp 4th appoggiaturas and so on. Link to comment Share on other sites More sharing options...
Hlao-roo 389 Posted April 24, 2014 Share Posted April 24, 2014 So no love for Rosenman? Link to comment Share on other sites More sharing options...
Sharkissimo 1,973 Posted April 24, 2014 Author Share Posted April 24, 2014 I love Rosenman, I'm just not familiar with his Sybil score. I know it used pianos tuned a quarter tone apart, but not much more Link to comment Share on other sites More sharing options...
Ludwig 1,120 Posted April 24, 2014 Share Posted April 24, 2014 I think Zimmer's score for THE AMAZING SPIDER-MAN 2 is worthy of an analysis. Particularly the way he uses pedal point, suspended chords, the quintal triads and slides in Harry's Suite, the Mixolydian flat 7th (common to pop music), Lydian sharp 4th appoggiaturas and so on.I haven't heard it yet, but it sounds like a good one. It'd make a nice summer blockbuster post. Link to comment Share on other sites More sharing options...
Sharkissimo 1,973 Posted April 24, 2014 Author Share Posted April 24, 2014 I think Zimmer's score for THE AMAZING SPIDER-MAN 2 is worthy of an analysis. Particularly the way he uses pedal point, suspended chords, the quintal triads and slides in Harry's Suite, the Mixolydian flat 7th (common to pop music), Lydian sharp 4th appoggiaturas and so on.I haven't heard it yet, but it sounds like a good one. It'd make a nice summer blockbuster post.It's a really fun score, much more colourful than MOS IMO (which I still like). The Dubstep moments are bit Marmite, but I think you'll dig it. Link to comment Share on other sites More sharing options...
tedfud 38 Posted April 28, 2014 Share Posted April 28, 2014 Some Bernard Hermann ?North By Northwest, Psycho , Cape Fear, Fahrenheit 451 ? ......Vertigo Alan Silvestri Predator , Back to the future Max SteinerKing Kong Michael Smallmarathon man Nino RotaGodfather Henry Mancinithe pink panther ....surely a case study in the art of defining a character in music.....Charade, After Darkand Yes Jerry Goldsmithincluding :Star Trek : TMP, Outland, Planet of the apes, First Blood, The Satan Bug ,there...that should keep you busy......it's a wonderful blog....very informative e Ludwig 1 Link to comment Share on other sites More sharing options...
Gnome in Plaid 219 Posted May 2, 2014 Share Posted May 2, 2014 Personally I'd love to see some more unusual scores explored:WilliamsRevenge of the Sith's more bizarre cues (I'd love to see Datameister's take on "Riding the Lizard")ShoreThe CellThe DepartedNaked LunchSakamotoThe Last EmperorDerridaBeltramiThe Hurt LockerStreitenfeldAmerican GangsterMansellRequiem for a DreamDoom (yes, I'm serious)The FountainGoldenthalCobb Link to comment Share on other sites More sharing options...
Ludwig 1,120 Posted May 2, 2014 Share Posted May 2, 2014 Great suggestions, GiP. I especially like your first one. Did we have a "Williams' most bizarre cues" thread or something similar? If so, that one should certainly be included. Link to comment Share on other sites More sharing options...
Sharkissimo 1,973 Posted May 6, 2014 Author Share Posted May 6, 2014 GODZILLA - Desplat Link to comment Share on other sites More sharing options...
Ludwig 1,120 Posted May 6, 2014 Share Posted May 6, 2014 GODZILLA - DesplatI haven't heard it yet, but any particular cues stand out for you? Link to comment Share on other sites More sharing options...
RedBard 71 Posted May 9, 2014 Share Posted May 9, 2014 I can't believe that people here are mentioning old timers like Goldsmith and Hermann and have yet to mention...this guy.Korngold - The Sea HawkNow for a living composer...James Newton Howard - Atlantis: The Lost Empire Link to comment Share on other sites More sharing options...
Ludwig 1,120 Posted May 9, 2014 Share Posted May 9, 2014 Korngold - The Sea HawkWhat a great score. I love his really notey brass fanfares. No one else writes quite like that. Link to comment Share on other sites More sharing options...
RedBard 71 Posted May 9, 2014 Share Posted May 9, 2014 Korngold - The Sea HawkWhat a great score. I love his really notey brass fanfares. No one else writes quite like that.Thought you would take interest. Hey, if ever you need a good starting point to analyze Sea Hawk (for your blog, of course), here's a great resource:http://composerfocus.com/how-to-write-in-the-golden-age-of-hollywood-style-part-1/ Link to comment Share on other sites More sharing options...
tedfud 38 Posted May 9, 2014 Share Posted May 9, 2014 ahh...good old Mr Leach...top dudehttp://tutorials.tutsplus.com/authors/ryan-leachi've been begging him for part two...sadly never happened. Atlantis is one of howard's finestt Link to comment Share on other sites More sharing options...
Sharkissimo 1,973 Posted May 20, 2014 Author Share Posted May 20, 2014 THE CORE - Christopher Young- The heroic main theme based around rising 5ths. Lots of pedalling - accompanied by a Mars-like ostinato pedal in 3/4 with with triplets and hemiolas in the Terranaut March.- The B section for the above theme.- The 'pathos theme'. Used for Brazz, Bob and Serge's deaths and moments of poignancy.- A chromatic, highly syncopated (dotted notes and triplets) 'intrepid theme' for action setpieces or transition scenes (when the protagonists arrive at Brazz's Utah complex in the helicopter).- A brooding four note motif for a variety of scenes, such as the landing at Virgil's ocean launchpad or Zimsky's death.- The 'death theme.'- A slow 8 note long bass ostinato for moments of self-sacrifice or strength.- A chromatic bass vamp for low piano and synth Link to comment Share on other sites More sharing options...
RedBard 71 Posted May 28, 2014 Share Posted May 28, 2014 Atlantis Destroyed - James Newton Howard- Changing meter for each new section adds to the unpredictability of the piece- Urgency and suspense is immediately created by using minor sixths juxpatosed against diatonic seconds on the higher registers of the French Horns and an attacking xylophone- It then quiets down with foreshadowing ostinatos on both pitched and unpitched drums, low strings, bass clef piano, and baritone voices- Woodwinds imitate the horns' isolated melody as they play perfect fourths and tritones in succession- Harmonic union of brass create suspense with descending minor sixths (and of course, a percussive scare with an anvil strike)- Strings and woodwinds double in their higher registers with horns playing countermelody with the section finishing with tutti strings, brass, woodwinds, and xylophone- Modulates to E-flat major with a repetition of the vamping A section- Modulates to C major with the climax of the work; introduces celesta, crotales and the full choir as it effectively utilizes one borrowed chord after another a-la Williams to instill sense of wonder (C > A-minor > B > A-flat > D-flat > D > D-flat > D)- Modulates to F-sharp with woodwind runs, building horns and trumpets, and repetitive string climbs; the strings are woodwinds are atonal, but the brass and choir show tonal direction- Modulates one last time as it dies down to a quiet tremolo on the violins, triplets on the celesta and harp, and a wind chime- Finishes on C with a lone female voice wavering on one vowel, leavin the listener with lingering wonder(Gatorade Break)You know something? This just inspired me to open a new thread.And I think you folks here are gonna like it. Link to comment Share on other sites More sharing options...
Sharkissimo 1,973 Posted May 29, 2014 Author Share Posted May 29, 2014 I know Ludwig mainly tackles the thematic content of entire scores, but I'd like to see some musical setpieces put under the microscope. Inspired by tedfud's recent thread, what about 'Approaching the Death Star' from ROTJ?As Frank Lehman noted in his terrific paper Reading Tonality Through Film - Transformational Hermeneutics and the Music of Hollywood.In his words.In “Approaching the Death Star,” the first newly composed music heard in Jedi, Williams performs a feat of harmonic reconstitution, assembling Vader’s theme gradually from motivic and harmonic fragments, proclaiming a telic full rendition of the leitmotif at the sequence’s climax to coincide with the villain’s grand entrance.[...]Not to be overlooked is one last imprint left by this associatively-laden progression: the recognition of his harmonic/thematic material produces the pleasure of recognition for an audience cognizant of his musical portraiture in previous films. It is a complex pleasure, predicated on a tacit awareness of the elaborate intra- and extra-textual connotations of his material and the tremendous body of affective and narratival information that surrounds it.I think Mark could explain this in less verbose prose. Link to comment Share on other sites More sharing options...
Dixon Hill 4,232 Posted May 29, 2014 Share Posted May 29, 2014 Dear God... would not be harder to be less verbose than that. Link to comment Share on other sites More sharing options...
tedfud 38 Posted May 29, 2014 Share Posted May 29, 2014 Not to be overlooked is one last imprint left by this associatively-laden progression: the recognition of his harmonic/thematic material produces the pleasure of recognition for an audience cognizant of his musical portraiture in previous films. It is a complex pleasure, predicated on a tacit awareness of the elaborate intra- and extra-textual connotations of his material and the tremendous body of affective and narratival information that surrounds it.i reckon he's a fan !t Link to comment Share on other sites More sharing options...
Sharkissimo 1,973 Posted May 29, 2014 Author Share Posted May 29, 2014 Dear God... would not be harder to be less verbose than that.It's a bit Chomskybot-ish, isn't it? Link to comment Share on other sites More sharing options...
Faleel 5,329 Posted October 9, 2014 Share Posted October 9, 2014 Pirates of the Caribbean scores. Link to comment Share on other sites More sharing options...
Ludwig 1,120 Posted October 9, 2014 Share Posted October 9, 2014 Pirates of the Caribbean scores.Definitely! Interesting that those scores now seem to have become a sort of reference point for "pirate" music in film. I just saw The LEGO Movie and there was a pirate sequence that sounded suspiciously like these scores. And it wasn't parody of these films, but simply a pirate sequence. Link to comment Share on other sites More sharing options...
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