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

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Tangent: If you search John Powell on Wikipedia look who he gets paired with in the disambiguation!

 

Reading from left to right: "Cool, cool, wooooah now back up a second!"

 

 

Capture.PNG

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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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Or The Bourne Identity if you want a taste of the other side of Powell.

 

X-Man 3 is a very good start too.

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

 

 

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

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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 minutes ago, Jay said:

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

 

Are you stoned, Jason?

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Humor. It is a difficult concept.

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It wasn't actually funny, and I think there's a grammatical error.

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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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2:46-2:57 is perfect cinematic tension.

2:13-end

Anybody else hear some similarities to the Trade Federation march?

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On 30/03/2016 at 11:19 PM, KK. said:

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

 

 

 

7q9ONNg.jpg?1

 

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When Zimmer does the quasi-Ligeti thing, it's ok. Better than when most composers do similar imitations. But I think I prefer his purely electronic gnarly moments, just because they're more definitively "him."

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Agreed. Still thought that moment was pretty neat though.

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Newman is a master.  But that mastery is so diffused over his body of work.  There's so much subtlety around the sheer perfect moments.  Not that I dislike his brand of subtlety, but I crave one "big" Newman score that defines him aesthetically, that brings all of his good stuff together into one really tight package.  

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Ah yes, the all-too-elusive, ultimate "defining" Newman score. It's one of the reasons his modern scores can be frustrating in a sense, that his brilliance and mastery of colour and harmonic language only comes in relatively fleeting doses.

 

With that said, I think Road to Perdition remains one of his most accomplished works, in the sense that it feels far more honest to Newman's true voice than his latest proceedings. I'd also argue Angels in America comes close closer to the mark of that "ultimate" Newman package.

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On 15/04/2016 at 8:05 PM, Sharky said:

 

For me it was more...

 

68pP2qi.gif

 

 

 

aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaAAAAH!!!AAAAAA aaaaaaaaaaaaaaAAAAAAAAAAAAAAA!!!

aaaaaaaaaaaaaaaaaaAAAaaaaaaaaaaaaaaaaaaaaaaaaaAAAAaaaaaaaaaaaaaaaaaaAAH!!!

aaaaaaaaaaaaaaaaaaaaaaaaaaaaaAAAAAaaaaaaaaaaAAAAAAAAAAAAAAAAAAAAAAaaaaaAAAAAAAAAH!!!

 

 

(Sorry, I just couldn't resist doing that...)

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On 15/04/2016 at 7:13 AM, Gnome in Plaid said:

2:46-2:57 is perfect cinematic tension.

2:13-end

Anybody else hear some similarities to the Trade Federation march?

 

I always thought the Patton march sounded like An Actor's Life for Me from Pinnocchio.

 

 

 

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Chilling moment. Wasn't as effective in film though.

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Hello all! First post in the forums; have been lurking from some time now.
One of my favourite short musical moments comes from Austin Wintory's magnificent score to the video game "Assassin's Creed: Syndicate", in the cue "I Would Have Created a Paradise". The passage, starting from 3:07 until 3:42, first presents a variation on the cue's main action motif (which is also the villain's theme) on solo cello, which then veers off into a vicious melodic dance. At 3:23, the cello reaches a brilliant rendition of the score's main theme, a memorable melody which starts on a distinctive octave-down two-note line. Here, though, only the primary phrase is stated, before the cello unleashes in some incredibles arpeggios, counterpointed by dense, falling harmonies on the brass with string accents, resisting easy harmonic resolution or conventional progressions. Overall, this score is an incredible excercise in compositional intricacy and artistry.

 

 

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0:00 - 1:02 pure beauty

 

bum horn note at 0:25?

 

0:51-1:25

 

I really like the 'sonic percussion' JNH uses in the score, particularly here. I wonder if anyone can tell me more about this 'sonic percussion'. Like how the sounds are produced/what samples they come from before digitally being altered or if they're completely digitally generated. According to ProjectSAM's website, JHN says "True Strike is a permanent part of my palette. I use it in all my scores.". Is that the library he's using here for the percussion? These testimonials are an interesting read regardless.

 

https://www.projectsam.com/Testimonials

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