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Jilal

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

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For all those in dire need of a thread officially dedicated to their Strictly Non-Williams Favourite Short Musical Moments, here it finally is, in all its undoubtedly long-awaited glory.

Here we go:

1:29

Horn section playing parallel major chords. Brilliant!

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I'm glad you caught that (odd, as I thought I copied the right link from Google's multilingual search results). There's no Belgian Wikipedia - I live in the Dutch speaking part of Belgium, the inhabitants of which use the Dutch version of Wikipedia, just like there are both British and American users of its English version.

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7:53-8:26 (The Fall of Osgiliath) - This was one of the moments that really got me into film, and then classical music.

2:30-3:20; What's that?  Counterpoint in a Zimmer score?  In a Pirates score?  No, the world doesn't make sense anymore, but this is so good I don't mind.

1:12-1:22; very brief, and I'm not even really sure what's going on (muted trumpet rip into an echo/delay filter perhaps?) but... damn.

0:57-1:34; gorgeous statement of "If We Hold On Together" with some breathaking harmony.

0:00-0:08; The cut back to the Flying Dutchman after the Tortuga bar fight was completely out of left field, and an all-time great cinematic villain moment.  That organ...

1:26-1:42  The de-synchronized interplay between the violin and "kung fu punch" sample has this almost Ligetiesque micropolyphony that's bone-chilling.

And, finally, 3:54-4:38, roughly my favorite 45 seconds in all film music.

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01:53 - 02:03

 

 

That swirling motif appears in other places in the score, but that particular statement conveys a sense of impending doom better than the others for some reason. Absolutely love it. And then of course, right after that, you've got that stirring rendition of El Cid's theme... Film music at its finest!

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This has to be one of my favorite non-Williams cues out there:

The two themes (the first on war pipes and strings, the second on irish flutes and brass), the string runs, the ostinato, the extended technique to signify danger and suspense, and the union of harmonies.

Disclaimer: This comment (and the user who posted it) does not stipulate that composer John Powell will be, by any stretch of the imagination, the next John Williams given the chance with opportune subject material, but will most likely remain a go-to composer for more Dreamsworks Animation productions for the foreseeable future.

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3:45 - end. Man, that scene was an incredible moment of cinema at the IMAX midnight showing with a great audience.

Random fun fact: Conrad Pope mentioned it as one of his recent favorites when I asked him back in 2012. Others were: War Horse, Tintin, Iron Lady, Kon-Tiki and Blancanieves.

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Haha, nah, it is not a lie. Nope, no whatsoever mention of Zimmer before he dropped TDK as one of his recent favorites, or wait, he just mentioned his name in one of my previous questions when I asked him what his favorite working film composers in no particular order were. He mentioned many and Williams first which he also pointed out as his absolute favorite. Others were, Desplat, Newton Howard, Horner and Isham, Greenwood, Zimmer, Marianelli, Powell, the two Newmans and Doyle, and some more.

Would have been interesting to hear what he liked about it though.

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3:45 - end. Man, that scene was an incredible moment of cinema at the IMAX midnight showing with a great audience.

Random fun fact: Conrad Pope mentioned it as one of his recent favorites when I asked him back in 2012. Others were: War Horse, Tintin, Iron Lady, Kon-Tiki and Blancanieves.

Conrad Pope liked it? Might have to give this another listen.

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Still, 2 minutes and 30 seconds don't constitute a short musical moment!

That's debatable.

Indeed, incorrect usage of the thread, RedBard.

Again, that's debatable.

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Why the gainsaying?

"Short" is a relative term. In the course of a lifetime of 100 years (which I sure hope to live to be, just so you know), 2.5 minutes is short.

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