Jump to content

Non-JW Favourite Short Musical Moments


Jilal

Recommended Posts

This incredibly brief section of the third of Ravel's "Valses Nobles et Sentimentales"

 

3:58 - 4:05

 

Where it suddenly gets rich and deep and warm.  The orchestral arrangement just doesn't capture that same tone at all.  I love it.

Link to comment
Share on other sites

  • 2 weeks later...
  • 5 weeks later...
  • 3 weeks later...
  • 2 weeks later...
43 minutes ago, Will said:

Those fanfares... :music:

 

 

 

 

No surprise why Williams is a fan...

 

The ending is gorgeous, btw. :lovethis:

 

 

0:40 - 0:51

 

Symphony No.5; the one where Glazunov goes a little crazy with the piccolo...

 

Link to comment
Share on other sites

  • 2 weeks later...
  • 3 weeks later...
  • 2 weeks later...

 

2:06-2:21

 

2:53-3:38

 

4:19-6:04

 

I forgot how much I used to listen to this particular track in my late teens! It's still so frickin' good. I don't know if it makes for a great whole, but it's got plenty of kick-ass parts.

Link to comment
Share on other sites

Wow, I can't believe my ears hadn't picked up on that! Horton especially has a baffling number of nuances throughout its listening experience. It's beautiful how much love I've been seeing for that score lately.

Link to comment
Share on other sites

  • 2 weeks later...
On 2/27/2018 at 11:15 PM, Not Mr. Big said:

Another for the Powell pile! 

The statement of the "Big Finale" theme at 1:40 is one of my favorite examples of thematic foreshadowing.  

It's in quite a few cues isn't it.

Link to comment
Share on other sites

  • 2 weeks later...
  • 3 weeks later...
  • 2 weeks later...

 

For many years I thought the throbbing drone that accompanies the title card was a synth (maybe a Serge Modular), but it turns out to be a bow chime--a member of sculptor/musician Bob Rutman's family of steel cellos--ablate pitch-shifted down a major 3rd.

 

I also love the way Goldenthal caps it off with that triplet 'ribbit' figure on a stemless harmon-muted trombone, with the player's hand slowly opening and closing the bell for a quasi-filter effect. Sort of related to what Corigliano achieved with the overtone glissandi in his Pied Piper Fantasy.

 

There's so many other beautifully realized moments here, like the first statement of a theme I call 'Death and Transmogrification' (huge statement at 3:48) with a setting of dona nobis pacem (grant us peace) from the Agnus Dei at 2:11 for treble chorus. How stunning is that descant line (mensuration canon at the 6th) at 2:31, and the way both lines together form a full hexatonic collection? God I love this score.

 

 

Link to comment
Share on other sites

On 22.3.2018 at 3:53 PM, KK said:

 

 

There is regrettably a huge transitional cue left off where Horner applies the morse code orchestration full throttle (or whoever wrote it, it's one of those Don Davis probably had a big hand in).

2 hours ago, Sharky said:

God I love this score.

 

For 1992 it seems a minor miracle that this serious avantgardist work could survive in a movie like 'Alien 3'. 

Link to comment
Share on other sites

18 hours ago, Sharky said:

For many years I thought the throbbing drone that accompanies the title card was a synth (maybe a Serge Modular), but it turns out to be a bow chime

 

Where can I purchase this?

 

18 hours ago, Sharky said:

How stunning is that descant line (mensuration canon at the 6th) at 2:31, and the way both lines together form a full hexatonic collection?

 

It would be more stunning if it actually were only a full hexatonic collection, because Goldenthal inserts a G natural around 2:34 which for me throws the whole thing off. I don't know if he did it to add colour, if a singer is out of tune, or what...

Link to comment
Share on other sites

It's real shame that Rutman hasn't joined the sample library gravy train. Perhaps he's a little protective of his creations.

 

 

2 hours ago, Loert said:

It would be more stunning if it actually were only a full hexatonic collection, because Goldenthal inserts a G natural around 2:34 which for me throws the whole thing off. I don't know if he did it to add colour, if a singer is out of tune, or what...

 

Hmmm, strange. I don't hear a G natural anywhere--just a slightly sharp Gb. It's the same line (Bb>A>F>Gb>F>Db) as before.

 

I forgive them. They're only kids!

Link to comment
Share on other sites

43 minutes ago, kaseykockroach said:

The BWAAAMMM at 2:30

 

Fixed.

 

(Seriously though, great moment and great cue!)

Link to comment
Share on other sites

I hear it as BWWWOOOOM. :P That percussion that comes in at that moment is also stupendous! 

I like putting Battles/Over the Falls/Rescues together as one big splendid 8-minute action cue. And then I title the cue "Prehistoric Perils". Because I'm cute. 

Link to comment
Share on other sites

John Powell is great at scoring third-act-style action sequences. The last few days I have been listening to Pan and I can't get enough of the 18-minute section from "Flying Ship Fight" to "Fetching the Boys", though I think his best example of this is the finale of Horton Hears A Who.

Link to comment
Share on other sites

Create an account or sign in to comment

You need to be a member in order to leave a comment

Create an account

Sign up for a new account in our community. It's easy!

Register a new account

Sign in

Already have an account? Sign in here.

Sign In Now
×
×
  • Create New...

Important Information

By using this site, you agree to our Guidelines.