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Jilal

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

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For some reason this came into my head today, despite not having listened to it in many many years. I used to play this a lot when I was about 15 or so, and listening to it today two moments are notewhorthy here.

First from 3:49 to 4:02 - that delicious duo between the cello and the electric guitar. And then from 5:03 to 5:10 - great stuff.

The rest of the piece doesn't hold as well for me, but those two particular moments are still quite great.

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For some reason this came into my head today, despite not having listened to it in many many years. I used to play this a lot when I was about 15 or so, and listening to it today two moments are notewhorthy here.

First from 3:49 to 4:02 - that delicious duo between the cello and the electric guitar. And then from 5:03 to 5:10 - great stuff.

The rest of the piece doesn't hold as well for me, but those two particular moments are still quite great.

"Actually, it's not an electric guitar. You know what it is? It's the orchestra put through a guitar amp and piped back into the room. As soon as they finished playing, we plugged them into a guitar amp!" - HZ

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For some reason this came into my head today, despite not having listened to it in many many years. I used to play this a lot when I was about 15 or so, and listening to it today two moments are notewhorthy here.

First from 3:49 to 4:02 - that delicious duo between the cello and the electric guitar. And then from 5:03 to 5:10 - great stuff.

The rest of the piece doesn't hold as well for me, but those two particular moments are still quite great.

+1

Say what you will about Zimmer's POTC underscore, that bit is brilliant.

Also, 2:15 - 2:59, 3:04 - 3:28 and 4:14 - 4:34 here (the orchestration could perhaps be a little less ... tutti, though). Fun, nothing more, nothing less:

Now for something completely different:

0:06 - 0:23 (the dark tremolo violas underneath the bright woodwind/percussion interplay, culminating into the completely contrasting, almost ballet-like melody), 0:43 - 0:49 (lovely suspensions for the horn section), 1:23 - 1:39 (elegiacally brutal).

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As far as I'm concerned, there's nothing wrong with it. I just said that, because I know some people around here don't like it.

Maybe this guy ruined it for them.

the-phantom-of-the-opera-2.png

I'm not a huge musical fan in general, but Phantom is perhaps one of a very few that I enjoyed musically.

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If we're going to talk about Pirates Of The Caribbean stuff, we gotta mention this!

 

01:17 - 01:31

 

 

 

00:00 - 00:42

 

 

 

I'm not a huge musical fan in general, but Phantom is perhaps one of a very few that I enjoyed musically.

 

Yeah, it's damn good.

 

It's a shame that, like for the Les Misérables special edition OST, the soundtrack producers felt it was a good idea to include SFX in some tracks. "Yeah, I'm sure people are gonna love listening to that music with the sound of crossed swords! It's awesome!"

 

Would love to get a recording sessions leak of that one.

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I like you.

There's a great sort of musical painting happening there in the great crashes of sound followed by a kind of "rushing away" - just like, you guessed it, waves. I usually find drawing parallels like that to be distastefully quasi-intellectual and often rather baseless (like desperate reaches for depth common in a high school literature class), but in this case it does seem intentional and the effect is awesome.

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I like you.

There's a great sort of musical painting happening there in the great crashes of sound followed by a kind of "rushing away" - just like, you guessed it, waves. I usually find drawing parallels like that to be distastefully quasi-intellectual and often rather baseless (like desperate reaches for depth common in a high school literature class), but in this case it does seem intentional and the effect is awesome.

In that specific sequence, the way I see it, the wave acts as a symbol of the interconnectedness between space and time. The wave is a physical result of the huge tidal forces caused by the nearby star, which in itself is a result of the star's gravity, which itself causes the huge difference between the passage of time on that planet's surface and the orbiting spaceship ("huge difference" being that 1 hour on the planet's surface corresponds to 30 years on the spaceship or whatever). The wave itself acts as a physical "pointer" to this link, and reminds us of the strong interconnectedness between space and time.

The descending bass in that section simply represents the much slower passage of time on the planet's surface (from an 'outside' point of view at least). The reason why it is applied to the wave is because of how the wave is a physical representation of this "difference in time passage", as I've described above.

It doesn't really matter if it was an intentional effect or not...a lot of this stuff can come from the subconscious of the creative mind. This is just my interpretation, and I'm not even sure I fully understand it.

Hans could've simply added it there for a cool effect for a crashing wave though, as you described. I can tell you that in the IMAX cinema that bass slide sounded insane and the wave swallowing the clouds was unforgettable. The other spectacular scene was entering the wormhole. My seat was rumbling like mad and the effect was just that which I would imagine entering that wormhole would feel like if I was in the spaceship.

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3:22 - 3:33 - A sudden change in tone...the way those high strings match the imagery on screen is spine-chilling. The whole scene is a masterclass in combining music with film.

 

 

14:28 - 15:12 What a crescendo!

 

 

4 hours ago, TheGreyPilgrim said:

5:38, when Jack and Jones fight on top of the sail.  Great fun!

 

 

 

At World's End was the soundtrack which got me into listening to film music. I must've replayed this and "Up is Down" at least a thousand times! Great track.

 

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9 minutes ago, Disco Stu said:

Is there a quintessential John Powell score a true beginner should listen to first?  I need a gateway drug.

 

How To Train Your Dragin without question.

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I listened to that one yesterday and was kind of bored by it.  The Superman Ostinato cropping up now and then doesn't do it many favors either

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5 minutes ago, KK. said:

I have! And I definitely like some parts of it. But it's still pretty painful to sit through without a proper edit.

Speaking of that, is there anywhere on this forum where I can find a list of the "listenable" moments from that score?

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2 hours ago, Mr. Big said:

Speaking of that, is there anywhere on this forum where I can find a list of the "listenable" moments from that score?

 

Yes, it's actually listed in every post, right in between and around all the words.

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3 hours ago, KK. said:

First 30 seconds are actually quite terrifying, before it becomes insufferable...

 

 

I like that clustral, hornet figure at 1:32. Bars of 6/8 and 9/8 each capped by bars of 2/9 (two isolated 8th note triplets--an irrational time signature) creating a staggering feel. Conlon Nancarrow would be proud.

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