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Jilal

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

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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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Does it have to be from a movie?

 

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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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2:52 - 2:59 - I could whistle that little tune all day! (if only I could whistle... :( )

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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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The 6-note flute motif heard in the casino of The Ocean Club. It starts at 35:10, on the Blu-ray.

Pure Arnold. Pure Barry. Pure Bond. Pure class.

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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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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). 

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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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Listening to Star Trek: The Final Frontier for the first time, and was captivated by this moment

 

 

Especially the beauty of 2:48 and 3:00.  Right on Mr. Goldsmith.

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Posting this here because it's a Bernstein composition, even if Williams is conducting.

 

Bernstein by Boston is one of my favorite John Williams & The Boston Pops albums and of course the performance of Bernstein's On the Town suite is a highlight.

 

The short moment I want to spotlight is the absolutely wonderful clarinet section from 2:46 - 3:00.  This entire track is delightful and you should listen to it!

 

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On 9/3/2015 at 7:40 PM, Nick Tatopoulos's Beret said:

By far the TOS fanfare in The Barrier by Jerry Goldsmith.

 

Indeed, self. I thought of this thread (and another which has vanished) when I was obsessively listening to this part over and over again today. Then I realized I'd already declared this my favorite non-Williams short musical moment. Let me also say that the entire piece and score is great and very likely my favorite Goldsmith and Trek score.

 

 

1:53

 

It truly is one of the greatest moments ever. It's the very essence of Star Trek, Jerry Goldsmith, film scores, music and indeed life itself. It's better than everything.

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14 minutes ago, Nick Tatopoulos's Beret said:

 

Indeed, self. I thought of this thread (and another which has vanished)

 

What thread?

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The one about obsessively listening to music over and over again like a maniac.

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