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Favorite short musical moments in Williams scores?

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The variation of Luke's Theme at the end of Father/Son.

 

 

On ‎03‎/‎06‎/‎2016 at 10:48 AM, Not Mr. Big said:

The second half of "The Schubert Collage" from Minority Report (complete).  

 

Where is that, in the film?

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I used to find that moment a bit cringe-inducing and forced (especially the modulation from ~8:32) but after more listens I ended up quite liking it. It is basically a musical prank, a bit of light-hearted fun, playing with the audience's expectations. And I appreciate Williams all the more for doing something different and taking a "risk" with that bit instead of simply recycling the end of the end credits from the first three films.

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That short musical moment in the KOTCS score was the only part of the entire score that sounded fresh or inventive in the way I was hoping the entire score would. Everything else sounded like a musical retread of the past 3 films.

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The cue "Escape Now, Hug Later" from TFA (yes, the whole thing, it's only 14 seconds long!) Wonderfully heroic and victorious, it's been stuck in my head tonight. 

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A recent favorite moment of mine is from TFA on the FYC track "Main Title and Attack on the Jakuu Village" from 4:41-5:13 and how that small motif develops over the top of that rhythmic figure, I swear I'm going to wear out the digital file!

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14 hours ago, Not Mr. Big said:

Maybe the whole score a musical prank.  

 

It was unused.  

 

Do you know where it would have been placed, if it was used?

 

The fanfare in MainTitle, when Doug Roberts sees The Glass Tower, for the first time.

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On ‎07‎/‎06‎/‎2016 at 3:22 PM, Jay said:

 

Yes it does, Jay. Thanks!

 

They've missed a bit: the end of the film version of Anderton's Great Escape is different.

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13 hours ago, loert said:

 

Hmmm...is that a choir I hear in there?

 

Well, actually it's not, but John cleverly uses muted, tremolo strings to create an impression of one.

 

Unrelated, but what is the music in your signature?

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On 13-6-2016 at 1:32 AM, loert said:

 

2:19 - 2:37, 2:53 - 3:01

 

Hummability score: 9.2/10

 

There are times when TPM comes pretty close to HP1's charming warmth.

 

 

I really like the intro with all its bells and whistles, but the mixolydian A section of the tune is so cool as well.

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7 minutes ago, Jilal said:

 

There are times when TPM comes pretty close to HP1's charming warmth.

 

Another example which stands out is "Anakin is Free". One of the most beautiful SW tracks IMO. Dare I say, makes you feel like you're...Lost In Space. ;)

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6 minutes ago, Jilal said:

 

 

I really like the intro with all its bells and whistles, but the mixolydian modality throughout the cue is so cool as well.

 

Wow, I'd never listened to Williams' Lost in Space work, that's a pretty cool cue! 

 

By the way, what is the Williams cue seen in your signature?

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3 minutes ago, loert said:

Another example which stands out is "Anakin is Free". One of the most beautiful SW tracks IMO. Makes you feel like you're...Lost In Space. ;)

 

Oh, yes, absolutely. And the follow-up cue is about as biblical as Williams ever got.

 

2 minutes ago, Will said:

 

Wow, I'd never listened to Williams' Lost in Space work, that's a pretty cool cue! 

 

By the way, what is the Williams cue seen in your signature?

 

The Lost in Space Season One Main Titles. :)

 

Finale wouldn't launch properly (I'm having problems with my audio drivers), so I wrote it by hand. Funny you immediately knew it was a Williams cue!

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2 minutes ago, Jilal said:

 

Finale wouldn't launch properly (I'm having problems with my audio drivers), so I wrote it by hand.

 

Wait, that's your handwriting? I thought it was Williams's! :lol:

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12 hours ago, Richard said:

2/the five chords, leading to the triumphant B (at least, I think it's B)   at the climax of "Hyperspace".

 

B indeed. The series is Bb -> Ab -> C, then C -> F#, F# -> Eb and then Eb -> B. It's basically a mixture of chords separated by a minor/major third and a tritone which lends this passage its very colorful sound.

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Thanks, dude. I'll play that on my DX7, when I get a chance.

 

Now...howzabout the four brilliant chords heard in "TFC" (ok, ok, I know  it's not JW, but they are great, anyway!) heard in Damien Thorn's office, when he's talking to Harvey Dean, and looking out the office window, at the monk? Aren't they just the four most cosmic chords that JG has ever written?

 

 

How about the middle eight horn trio, in "Miles On Wheels"? Funky, with a capital funk!

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5 hours ago, Richard said:

Now...howzabout the four brilliant chords heard in "TFC" (ok, ok, I know  it's not JW, but they are great, anyway!) heard in Damien Thorn's office, when he's talking to Harvey Dean, and looking out the office window, at the monk? Aren't they just the four most cosmic chords that JG has ever written?

 

The Official Strictly Non-Williams Favourite Short Musical Moments Thread™

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14 minutes ago, Jilal said:

 

Resembles the fugue in ESB's Leia's Instructions, if you're interested in more of it. :)

 

By the way, are you still not revealing what's in your signature? (for us non-music-reading folks:P

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28 minutes ago, Hawmy said:

I like this. The orchestration is just so unexpected.

 

Oh man, the controversial electric guitar moment. Correct me if I'm wrong but wasn't the actual electric guitar cut from the film cue? I seem to remember the speeder itself had an electric guitar like sound effect instead. Or is this actually how the music is in the film?

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