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Jilal

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

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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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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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Maybe my computer is just shit, but all these embedded YouTube videos crash my browser. So I will opt to share the links rather than embed.

 

How about some classic Horner fanfares?

 

The Pagemaster - "New Courage"

1:10

 

Star Trek III - "Genesis Destroyed"

2:10

 

Casper - "First Haunting/The Swordfight"

2:38 and 4:02

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6:42 - 6:55: A refreshingly sweet moment contained within a robust, heroic battle track. One thing David Arnold managed to do well with this score was tightly structure his music, often employing four-bar or eight-bar phrases, which gives the music a good sense of logic and grounding away from the screen (another good example of this is the build-up when we see people's faces look up to the sky as the huge Destroyer comes in over NY). Also, notice how that glockenspiel keeps returning up till 7:54...I like to see this as a glimmer of hope shining amidst all the chaos!

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0:59 - 1:34 of Flies and Spiders from The Hobbit: The Desolation of Smaug.

This bit of music corresponds to the point in the film where Bilbo peaks his head above the treetops and takes a moment to experience the wonderment of his surroundings before ultimately spying the Lonely Mountain in the distance. It's one of those small quiet moments where we get to see the characters themselves in awe of Middle-earth, and is a type of instance I wish the series had chosen to have more of. Goes without saying that the music accompanies it perfectly. 
 

 

 

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Starting at 4:09, that wild section with the gnarly woodwinds.  That's like a "bloody hell, I knew you had this kind of thing in you Big G, so why don't you break it out more?!" moment. 

 

It's not even ruined by the too-swingy motive that pushes most of the credits along, the bah-duh-duh, duh, dah-duh thing.  That's one of the issues I have with a lot of his music, it's just too easy to dance to, too often carrying an almost Latin or Big Band flavor.  I mean I don't begrudge the guy his style, but that usually makes it tough for me to get into much of his output.

 

 

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On 6/10/2016 at 2:58 PM, TheWhiteRider said:

 

It's not even ruined by the too-swingy motive that pushes most of the credits along, the bah-duh-duh, duh, dah-duh thing.  That's one of the issues I have with a lot of his music, it's just too easy to dance to, too often carrying an almost Latin or Big Band flavor.  I mean I don't begrudge the guy his style, but that usually makes it tough for me to get into much of his output.

 

I actually enjoy that kind of "easy to dance to" action music. Another example of Giacchino using this style, one I love:

 

the fun, catchy motif heard from :39-:45

 

 

 

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:56-1:00

 

 

Was watching the film for the second time today and noticed this awesome Giacchino moment. If I remember correctly it perfectly accompanies the on-screen action -- Joy and Bing-Bong landing back on the ground at the bottom of the subconscious pit after nearly escaping the pit on the wagon. 

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The wild counterpoint between the brass and woodwind sections is strikingly Northian indeed. Definitely my association as well. There's another moment in Metaboles with staccato muted trombones that reminds me of 2001's The Bluff.

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30:55 - 31:13 - that usage of the descending 4-note figure, especially when the cellos join in at 31:01. Not to mention that Kleiber handles this moment wonderfully, with the most subtle of subtle accelerandos creating a sense of drive without exhausting the musical "fuel".

 

I also ought to point out the subtle roots of E.T. at 23:21!

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On 6/25/2016 at 11:48 PM, Cerebral Cortex said:

 

1:01 to 1:58 of Parlay from Pirates of the Caribbean: At World's End (A.K.A. the moment when Zimmer finally gets in touch with his inner Morricone). 

 

That's Verbinski himself on the geetar, isn't it?

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