Your favourite EPIC cues

[Quintus 5,399]

Heart thumpingly stirring music is great isn't it. Whether it be the full triumphant blast as Williams sends us careering through Asteroids, or something much more quiet and abstract; music often juxtaposed against a vivid battlefield depiction - as Zimmer tackled the boots in the mud coda to Gladiator's thrilling opening sequence, it's all essentially what we enthusiasts, interneters and YouTubers often affectionately think of as being EPIC music. Loud or soft though, the properties of epic scoring are perhaps more nuanced and complex than one might automatically assume them to be. In its most basic form a standard epic moment in a cue will simply appeal to our more musically receptive innate desires to be satisfied by some harmonic brass and percussion as the hero has their moment to shine or a mythical locale itself is given deserved musical recognition. But other times the ethereal voice of a soprano as heard in Forth Eorlingas (from TTT) suddenly taking centre stage above the din of audio effects can affect the viewer (and listener) in a way which is profound and even in the moment interpreted as being downright poetic. The epic music we hear can take on a mystic quality which we feel in ourselves - keen that we are sometimes to project our personal yearnings into the music as we marry the sound to the imagery.

 

Rich harmony does seem to be a key ingredient, the connective tissue, of a successful epic payoff, but is that always the case? Can music be 'epic' without the intrinsic emotional musical tropes we perhaps expect? Or can the same results be achieved with something more, say, atonal? 

 

A couple of good examples of epic underscore are Goldenthal's Adagio and Transfiguration from Final Fantasy the Spirits Within and Goldsmith's The Mutant from Total Recall. These two knock our socks off. 

 

Lets talk about your favourites. 

[Dixon Hill 4,233]

Good idea for a thread.  There's quality music in this vein that's trendy to ignore nowadays thanks to the abuse of words like "epic," and, frankly, a lot of crappy music too that obfuscates the good stuff.  Make epic music great again.  

[Romão 2,274]

Obvious examples, but among the all time greatest: 

 

You are the Pan

The Dark Side Beckons

[Disco Stu 15,495]

"To the bridge of Khazad Dum"

[#SnowyVernalSpringsEternal 10,265]

Can't get more epic then this:

 

 

[BloodBoal 7,538]

Yes it can!

 

 

[#SnowyVernalSpringsEternal 10,265]

Close, but not quite 

[publicist 4,643]

 

[Dixon Hill 4,233]

1 hour ago, Stefancos said:

Can't get more epic then this:

 

 

 

I actually prefer some of the action material from the first film, but this one is definitely compelling.  And that Stravinsky moment at 4:44 is shit-your-pants good!

[KK 3,307]

As do I. But of all that's come out of that trilogy, that cue definitely fits the "epic" label best.

 

 

[Jay 37,322]

First thing I thought of:

 

 

Really captures that "end of the world" feel

 

[Romão 2,274]

38 minutes ago, publicist said:

 

 

Great one. The action does get slightly overbearing for my tastes in the last half an hour or so of this score, but this finale more than makes up for it

[Naïve Old Fart 9,507]

"The Katra Ritual". 

Now, this might not sound epic, but listen to how it builds, mirroring the characters' hope, fear, and anticipation, finally climaxing with...a soft, sweet whisper, that says "it's over, all we can do is to wait".

It's a quietly breathtaking cue.

[Dixon Hill 4,233]

That one is great, very stirring.

 

----

 

I've tried to pick things based on an interpretation of "epic" that has more to do with awe and stirring qualities like Quint says, rather than things that are purely headbangin' since I think we've had threads for that and general action music before, but some of that made it in as well.

 

 

 

 

 

 

 

 

 

 

 

 

 

[BloodBoal 7,538]

If we're going with El Cid...

 

 

 

And another score you HAVE to mention when talking about epic material:

 

 

 

 

[Loert 2,510]

To me the quintessential EPIC!!11! track is I Don't Think Now Is The Best Time from POTC3 (though the ending is a bit of an anti-climax):

 

 

Mutha Ship from ID4, especially when those big muthathumpin' drums come in at 7:15!!!

 

 

Dinosaur:

 

 

Deliver Us from The Prince of Egypt (a lot of its epicness derives from its form):

 

https://www.youtube.com/watch?v=3WKN0XF8-3Q

 

Test Drive and Forbidden Friendship from HTTYD, for the more 'serene' side:

 

https://www.youtube.com/watch?v=6IBlQj2U5kU

 

https://www.youtube.com/watch?v=6CJ96LGGP6w

 

Finale from Mr Magorium's Wonder Emporium, for the more 'fantastical' side:

 

https://www.youtube.com/watch?v=1kXQgV1cEwE

 

From Williams, DOTF fits the ostinato-driven epic style the most I suppose. But then there tracks like this:

 

https://www.youtube.com/watch?v=FqFbvXg1RXI

 

https://youtu.be/tTMtNly-A-M?t=317

 

[Jilal 569]

 

 

 

 

 

[Not Mr. Big 4,639]

[KK 3,307]

If we're defining the word epic, by emotional payoff, I think Trevor Jones was particularly skilled at crafting such moments.

 

Case in point:

5:30-6:45

 

And then the big soaring thematic statement for the finale:

 

[Romão 2,274]

When you mentioned Trevor Jones, those moments were immediately the first that came to my mind

[Sharkissimo 1,973]

Spoiler

Alex North - Grant Me an Honorable Way to Die (Cleopatra)

 

 

Bernard Herrmann - The Ferry (Obsession)

 

 

Danny Elfman - End Credits Suite (Red Dragon)

 

 

Mark Isham - The Crevasse (Eight Below)

 

 

 

John Barry - Chase / Trap (King Kong)

 

 

Elliot Goldenthal - Finale (Titus)

 

 

John Williams - Navy Planes (Close Encounters of the Third Kind)

 

 

 

James Horner - Lillian's Heart Attack (Brainstorm)

 

 

Jerry Goldsmith - The Blooding (The Omen III: The Final Conflict)

 

 

 

 

 

 

[Dixon Hill 4,233]

That Isham selection is awesome!

[Jilal 569]

Some further selections:

 

Alex North - CLEOPATRA - Moon Gate

 

 

Alex North - 2001: A SPACE ODYSSEY - The Bluff

 

 

John Williams - STAR WARS EPISODE III: REVENGE OF THE SITH - Anakin's Betrayal

 

 

John Williams - STAR WARS EPISODE III: REVENGE OF THE SITH - Anakin's Dark Deeds

 

 

John Williams - WAR OF THE WORLDS - The Intersection Scene

 

 

[KK 3,307]

The intense chaconne from Gladiator, one that would resurface a few times in Zimmer's later career (ex. Dark Knight, Angels and Demons). One of the finest examples showcasing Zimmer's ability at staging the drama.

 

 

[Dixon Hill 4,233]

Love when he does that kind of thing.  He really likes his baroque forms.  The Batman one is very intense and really nails that scene.

[KK 3,307]

Me too. It's moments like that that made me a Zimmer fan, and ultimately a film music fan in the first place.

 

Was revisiting a lot of Zimmer stuff a few weeks ago, and I actually wanted to make a post about those moments, where Zimmer seems to really draw from Handel, Bach and the Baroque era in general. Maybe sometime soon...

[Sharkissimo 1,973]

That Gladiator passacaglia is stunning. Gorecki's Third is clearly the model but it grows into its own thing. Is it me or is the ground bass derived from the Dies Irae?

[KK 3,307]

I can hear that. Though I'd just chalk that up as a coincidence with Zimmer's general fondness for stepwise patterns in D minor.

[Jay 37,322]

Quint asked that we talk about our selections,  and yet this has turned into another endless embed thread with little discussion.... 

[Muad'Dib 1,801]

The embed must flow

 

 

 

[Dixon Hill 4,233]

27 minutes ago, KK said:

Me too. It's moments like that that made me a Zimmer fan, and ultimately a film music fan in the first place.

 

Was revisiting a lot of Zimmer stuff a few weeks ago, and I actually wanted to make a post about those moments, where Zimmer seems to really draw from Handel, Bach and the Baroque era in general. Maybe sometime soon...

 

Sounds like a great post.  Do it!

 

27 minutes ago, Sharkus Malarkus said:

That Gladiator passacaglia is stunning. Gorecki's Third is clearly the model but it grows into its own thing. Is it me or is the ground bass derived from the Dies Irae?

 

Yeah the ends of each phrase call that to mind.  One of the only instances where it doesn't stick out like a sore thumb to me.  The one from TDK (Watch The World Burn) is a great perversion of Dent's theme.

 

My favorite though is 528491 which I posted above.  Also has some canon-esque things going on.

[Will 2,215]

Quote

But other times the ethereal voice of a soprano as heard in Forth Eorlingas (from TTT) suddenly taking centre stage above the din of audio effects can affect the viewer (and listener) in a way which is profound and even in the moment interpreted as being downright poetic. The epic music we hear can take on a mystic quality which we feel in ourselves - keen that we are sometimes to project our personal yearnings into the music as we marry the sound to the imagery.

 

Somehow it's more the circumstances in which I hear the music that makes it epic to me, if that makes any sense. The moments I realize certain cues are "epic" to me almost always if not always occur when I'm watching a film, or later when I'm remembering my experience watching the film. And the circumstances of that experience can dictate to an extent whether I think the cue is epic (although the scene and music do have to be very good). 

 

For instance, last December I had been waiting months for the release of TFA. I was so, so excited. When I saw the film for the first time, there were certain moments that were just so magical, where I just thought to myself, more or less, "It is SO awesome that I'm watching the film, finally, and, most importantly, experiencing the score in context!" As BB-8 rolled across the desert to the twinkly music after the opening battle. As Rey slid down the slope on Jakku. 

 

Somewhat similarly, although to perhaps a lesser extent because the anticipation for The BFG had not been quite as high, I found the opening piano notes of "The Witching Hour," as Sophie walked through the dark and quiet orphanage, quite epic. 

 

And, perhaps strangely, the "Journey to the Island" sequence in Jurassic Park always feels epic in a way. That's strange because I didn't experience it after long anticipation (since I wasn't alive in the 90s). That film, and particularly that sequence, has always struck a chord with me for some reason. Maybe it's partly because I really like the story. 

 

It's hard to accurately describe it. I'm not sure if what I described could really be considered "epic," but it affected me profoundly, felt quite poetic in the moment, and felt very mystical and magical. In such scenes, the music and picture and my own feelings combine and everything on screen and coming through the speakers just feels "perfect." 

[Jay 37,322]

You're gonna go far, kid!

[mrbellamy 6,272]

Right now I'm thinking of some stuff that Tarantino's cribbed over the years...that guy can really pick 'em.

 

 

 

 

 

Epic means different things to me, but I guess in these cases it would mean a determined and insistent rhythm, a sense of progression or building in volume and density, a soloist (conveying individual power?) and/or a melody that's always rising rising rising. Helps to have connotations of fate or doom I suppose....generally it's hard to think of anything epic that isn't a life and death matter, or doesn't at least represent the essence of either in some way.

[Romão 2,274]

2 hours ago, TheWhiteRider said:

 

Sounds like a great post.  Do it!

 

 

Yeah the ends of each phrase call that to mind.  One of the only instances where it doesn't stick out like a sore thumb to me.  The one from TDK (Watch The World Burn) is a great perversion of Dent's theme.

 

My favorite though is 528491 which I posted above.  Also has some canon-esque things going on.

 

This one is not as anguish-filled as those examples, but I still think it was cut from the same cloth and is one of my favorite Zimmer tracks:

 

 

[Quintus 5,399]

Oh man this thread is a goldmine of cues I haven't heard. 

[Barnald 365]

For me this takes some beating:

 

 

This is obviously sensational:

 

 

 

 

Unfortunately I can't find 'The Major Alone' on YouTube, so I'm going to have to put up the whole scene (it works even better with the visuals anyway):

 

 

Admittedly I find it hard to look past 'Final Duel' from OUATITW in terms of 'epicness', but this is just as good:

 

 

[Loert 2,510]

Some more from one of my favourite film composers (John Powell):
 

Spoiler

 

 

https://youtu.be/jrPKlIe4SXc?t=5

 

 

 

 

 

(by Hans Zimmer:)

 

(also by Hans Zimmer I believe:)

 

(and again...):

 

 

 

 

 

 

Also, did somebody say "passacaglia"?

 

 

This deserves at least a mention as well:

 

 

My favourite epic Matrix cue:

 

 

[Cerebral Cortex 3,357]

For me, it's very tough to look at epic cues and completely separate them from the context they are used within the film. My favorite ones tend to function within their scenes as: 
 

1.  Giving off a feeling of exhilaration and/or awe.
2.  Accompanying visuals that equally provide a feeling of exhilaration and/or awe. 
3.  Being the primarily source of audio within the scene. The music is in the foreground, and the sound effects are kept to a minimum.
4.  Work with the visuals to provide a moment of near total transportation to and immersion within the film's world.

So, for example, I feel that Buckbeak's Flight is an "epic" cue.

 

Overhill, from The Hobbit: An Unexpected Journey.
 

 

 

Blunt Instrument, from Casino Royale. 

 

[Dixon Hill 4,233]

How'd I forget this insanity?

 

 

[Will 2,215]

7 hours ago, Cerebral Cortex said:

 

Blunt Instrument, from Casino Royale. 

 

 

I'd actually never really heard any of Arnold's Bond before, but that cue is awesome! I'll have to check out more of the scores sometime. 

[TheUlyssesian 2,473]

I think for film score, epic music is one that makes a scene epic. So it need not always be loud  or deafening to be epic, it only needs to convey out sized notions of emotion and the human experience. Some examples

 

 

Check out the explosion of the legendary Tara's theme as Scarlett O'Hara declares war against the world.

[Romão 2,274]

Goldenthal's Final Fantasy is choke full of truly epic moments:

 

 

[Cerebral Cortex 3,357]

4 hours ago, Will said:

 

I'd actually never really heard any of Arnold's Bond before, but that cue is awesome! I'll have to check out more of the scores sometime. 

Yes, please do so! At the very least, check out Casino Royale. I hope you get a kick out of it (because I certainly do). 

[leeallen01 2,134]

For me, the most 'epic' moment in film history.

 

 

[Cantus Venti 13]

This ravishing essembly of strings that wildly ascends to the main theme, as well as the epic piano sound right before that which resembles the orchestra being "dropped," boldly reminding me of an echoey canyon.

 

2:00

 

 

[Naïve Old Fart 9,507]

I don't know about anyone else, but 

"THE SEDUCTION OF SUKI, AND THE BALLROOM SCENE", has "epic" written all over it, and it is a very strong candidate for the title of

"Single Greatest JW Track".

[crocodile 7,990]

One of those "should have been a classic but isn't for some strange reason" tracks. Probably because it wasn't used.

 

Karol

[Naïve Old Fart 9,507]

Unfortunately 

 

What suit thought that "Nessun Dorma" would be better for the film, than JW?

[#SnowyVernalSpringsEternal 10,265]

Genius director George Miller.