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Jilal

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

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This incredibly brief section of the third of Ravel's "Valses Nobles et Sentimentales"

 

3:58 - 4:05

 

Where it suddenly gets rich and deep and warm.  The orchestral arrangement just doesn't capture that same tone at all.  I love it.

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43 minutes ago, Will said:

Those fanfares... :music:

 

 

 

 

No surprise why Williams is a fan...

 

The ending is gorgeous, btw. :lovethis:

 

 

0:40 - 0:51

 

Symphony No.5; the one where Glazunov goes a little crazy with the piccolo...

 

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2:06-2:21

 

2:53-3:38

 

4:19-6:04

 

I forgot how much I used to listen to this particular track in my late teens! It's still so frickin' good. I don't know if it makes for a great whole, but it's got plenty of kick-ass parts.

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Wow, I can't believe my ears hadn't picked up on that! Horton especially has a baffling number of nuances throughout its listening experience. It's beautiful how much love I've been seeing for that score lately.

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On 2/27/2018 at 11:15 PM, Not Mr. Big said:

Another for the Powell pile! 

The statement of the "Big Finale" theme at 1:40 is one of my favorite examples of thematic foreshadowing.  

It's in quite a few cues isn't it.

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For many years I thought the throbbing drone that accompanies the title card was a synth (maybe a Serge Modular), but it turns out to be a bow chime--a member of sculptor/musician Bob Rutman's family of steel cellos--ablate pitch-shifted down a major 3rd.

 

I also love the way Goldenthal caps it off with that triplet 'ribbit' figure on a stemless harmon-muted trombone, with the player's hand slowly opening and closing the bell for a quasi-filter effect. Sort of related to what Corigliano achieved with the overtone glissandi in his Pied Piper Fantasy.

 

There's so many other beautifully realized moments here, like the first statement of a theme I call 'Death and Transmogrification' (huge statement at 3:48) with a setting of dona nobis pacem (grant us peace) from the Agnus Dei at 2:11 for treble chorus. How stunning is that descant line (mensuration canon at the 6th) at 2:31, and the way both lines together form a full hexatonic collection? God I love this score.

 

 

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On 22.3.2018 at 3:53 PM, KK said:

 

 

There is regrettably a huge transitional cue left off where Horner applies the morse code orchestration full throttle (or whoever wrote it, it's one of those Don Davis probably had a big hand in).

2 hours ago, Sharky said:

God I love this score.

 

For 1992 it seems a minor miracle that this serious avantgardist work could survive in a movie like 'Alien 3'. 

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18 hours ago, Sharky said:

For many years I thought the throbbing drone that accompanies the title card was a synth (maybe a Serge Modular), but it turns out to be a bow chime

 

Where can I purchase this?

 

18 hours ago, Sharky said:

How stunning is that descant line (mensuration canon at the 6th) at 2:31, and the way both lines together form a full hexatonic collection?

 

It would be more stunning if it actually were only a full hexatonic collection, because Goldenthal inserts a G natural around 2:34 which for me throws the whole thing off. I don't know if he did it to add colour, if a singer is out of tune, or what...

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It's real shame that Rutman hasn't joined the sample library gravy train. Perhaps he's a little protective of his creations.

 

 

2 hours ago, Loert said:

It would be more stunning if it actually were only a full hexatonic collection, because Goldenthal inserts a G natural around 2:34 which for me throws the whole thing off. I don't know if he did it to add colour, if a singer is out of tune, or what...

 

Hmmm, strange. I don't hear a G natural anywhere--just a slightly sharp Gb. It's the same line (Bb>A>F>Gb>F>Db) as before.

 

I forgive them. They're only kids!

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I hear it as BWWWOOOOM. :P That percussion that comes in at that moment is also stupendous! 

I like putting Battles/Over the Falls/Rescues together as one big splendid 8-minute action cue. And then I title the cue "Prehistoric Perils". Because I'm cute. 

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John Powell is great at scoring third-act-style action sequences. The last few days I have been listening to Pan and I can't get enough of the 18-minute section from "Flying Ship Fight" to "Fetching the Boys", though I think his best example of this is the finale of Horton Hears A Who.

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