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Non-JW Favourite Short Musical Moments


Jilal

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I've obnoxiously gushed countless times that no one does a finale like that Powell fella. Even the more 'minor' Powell works often build up to a dandy climax (the Rio scores come to mind). 

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  • 3 weeks later...

4 second explosion of expressive chromatic dissonance.  Righteous organ fit for a prog rock band.  No other recording I've found has the organ so forward in the mix for this part, and its totally key to off-kilter effect in my opinion.

 

5:41 - 5:46

 

The Scherzo movement of his Organ Symphony is truly one of my absolute favorite Copland works.  I think the symphony in general gets kind of a bum rap.  Many critics are a little dismissive of it.

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The rhythm starting at 2:00. Sounds Kong-esque to me (not referring to a particular King Kong score, just...brings to mind King Kong in general).

The brass section really earned their paychecks in this score! If Solo's score is a glorious banquet fit for a king, this is a medium-well bacon cheeseburger cooked by a local greasy-but-cozy cafe.

 

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Getting more into the God of War OST.

 

One of my favorite settings (that I've noticed) of the main Kratos theme is at 2:15-2:27 below.   Transposed from its native low  C minor to a soaring  A minor.

 

"Valkyries" is a great track in general.

 

 

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Perhaps because this score doesn't really have many original melodies, this little moment really stood out to me in the film (during the copter chase). 

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Listening to Copland again, as usual.

 

This lovely section in the first movement with a single trombone underpinning the woodwinds.  The strings very softly come back in after a while before the movement begins to build up steam again. 

 

Sigh.  Heaven

 

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I'm normally not a fan of Ron Jones, but the Star Trek theme that plays at 1:15 is so good.

 

 

Those (I think) major 7 chords make such a great contrast to everything else going on, such a chilling moment in the show.

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Several years ago I watched this series and absolutely fell in love with the opening music, especially that melody that comes in at the beginning.  Colin Towns is the composer, I believe.

Is that an original melody, or is he closely following an Vaughn Williams example?  If so, what particular piece?  The end credit song is also beautiful.

 

 

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3 hours ago, KK said:

Someone give Marianelli his proper fantasy flick please!

 

 

I'm surprised I missed that movie, thanks for posting this excerpt.

 

Two things stuck in my head:

 

This goofy-ass theme, and all of its sillily dramatic variations

 

 

The section that appears a few seconds after this. Such a chilling moment in the film, and gives the events an almost mythical, larger than life quality.

 

 

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The power of slow, almost static harmony.  After about 8 minutes oscillating between basically just two or three different chords Gorecki arrives at this subtle but shatteringly moving shift to a place closer to harmonic repose, as the soloist intones that final call to the Virgin Mary.  Extraordinary.

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A lot has been said about this score, and I'm not a fan of it even though it worked in the movie, anyway I just love this little piano motif… it has this mysterious evil/playful vibe to it :

 

 

 

 

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6:44-7:10

Pulling this section back gives it much more weight, and the ensuing bombast more punch. Stuff like this is what I was thinking of when I wrote this score balances greatly between grand and over-the-top.

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This point to the end.

 

 

 

Anyone else ever listen to really short snippets of music over and over and experience something like a repeated word losing its meaning, except in this case the music seems to actually gain some mysterious meaning instead? 1:54 to 1:58

 

 

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May be stretching the definition of "short", but...

 

1:55-2:30

 

The whole track is a masterwork of buildup, but somehow this segment really stands out for me - it could be the climactic moment anywhere else, but here it's just the indication that big things are about to happen. It's a pumping adrenaline rush just before the battle to get you hyped up. Then of course I could list the prayer to Crom right afterward as another favourite shorter section!

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On 3/2/2019 at 10:28 PM, Will said:

Awesome! Sounds Powell-y in its gleeful craziness. 

 

I particularly like the short moment that is 2:00 - 2:01. :D

There's a lot of great "stuff" in there, but I would prefer if it weren't so disjointed. On the other hand, Powell has a supreme sense of musical continuity, but he hasn't captured Williams' orchestral tics as well as Haab has. (And I'm not complaining!)

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Imagine for a moment that you're walking through a forest; it's night time, the sky is overcast, there's a light breeze in the air...and then, coming somewhere from a distance, you begin to hear music playing, between 53:32 and 55:05 below...

 

 

I would probably s**t myself!

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On 3/11/2019 at 10:09 AM, KK said:

Who needs Zimmer when you've got this?

 

 

Ok, there used to be this Nixon in China: Chairman Dances video on YouTube that had all these public places and mysterious individuals popping around the corners staring into the camera, like some weird detective show. Man... I really miss the video because it fit the music really well.

 

Some of these people revealed their identities like it was a game move, and posed themselves like they were possessed and others came and joined them, and they were wearing special colors like brown and were concerned. Idk it was just a really weird video, wish it was still around.

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On 8/14/2018 at 11:21 AM, Disco Stu said:

Continuing my Dvorak theme today

 

7:52 - 8:20 is very "Golden Age Hollywood" and I love it

 

 

God, I love Dvorak. 8:03 - 8:07 sounds like something I might've written when I was younger with a string of novel melody. I like experimenting with random relative harmonies, like

 

 

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