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Requests for Ludwig's Score Analysis Blog


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#1 Mr. Shark

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Posted 18 April 2014 - 12:25 PM

Thought it would be a good idea for posters to suggest scores or particular themes they'd like Ludwig to tackle.

Mine is Don Davis's 1999 score for THE MATRIX.
'To cinematic purists we can apply Nietszche's characterization of Wagnerites: "Wotan is their god but Wotan is the god of bad weather." Then suffer, wail, and weep as you replace "Wotan" with that corrupted child prodigy "John Williams."' -- Andrew Grossman

#2 Hlao-roo

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Posted 18 April 2014 - 02:36 PM

Leonard Rosenman's Sybil

#3 Who?

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Posted 18 April 2014 - 07:27 PM

Goldsmith's ST:TMP and POTA

 

The Search for the Blue Fairy and Stored Memories and Monica's Theme from A.I.


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#4 Ludwig

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Posted 18 April 2014 - 11:17 PM

Goldsmith's ST:TMP and POTA

 

You're in luck! After I finish with Morricone's OUATITW, I'm starting a 6-part series on Goldsmith akin to the Williams series I did last year, and the two scores you mention are two of the six.

 

Thanks to Mr. Shark for starting this thread. I'm always looking for new ideas to blog about. I'm actually already thinking of next year and the big Episode VII and how to lead up to it nicely. How about a 6-parter on six SW themes, one from each film? Any other ideas on how to anticipate it appropriately?


Currently on my blog on film music analysis (www.filmmusicnotes.com): Cheyenne's Theme from Once Upon a Time in the West


#5 Who?

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Posted 19 April 2014 - 12:27 AM

Oh wonderful!  I've been enjoying your blog quite a bit tonight, reading through your series on Zimmer's Batman, which I've now got to have a listen to.  I'd thought a while ago to catalog and analyze the many motives in those scores, but I see you've beaten me to the punch on that one.


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#6 Faleel

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Posted 21 April 2014 - 04:37 PM

How about a analysis of the evolution of the finale/end credits arrangments of the Raiders March? (Raiders with the theme being contained to the actual end credits, TOD with the theme starting during the conclusion, and the counterpoint with Shorty's theme, TLC with the theme again starting during the conclusion, and the start stop nature of the credits arrangment, and KOTCS with the new ending)


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#7 Ludwig

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Posted 21 April 2014 - 05:59 PM

How about a analysis of the evolution of the finale/end credits arrangments of the Raiders March? (Raiders with the theme being contained to the actual end credits, TOD with the theme starting during the conclusion, and the counterpoint with Shorty's theme, TLC with the theme again starting during the conclusion, and the start stop nature of the credits arrangment, and KOTCS with the new ending)

 

Ooh, that's another good one! It's nice, too, that I already have the post on the March itself as a starting point, so it's not as daunting as it might otherwise be. It's been added to the list.


Currently on my blog on film music analysis (www.filmmusicnotes.com): Cheyenne's Theme from Once Upon a Time in the West


#8 Mr. Shark

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Posted Yesterday, 11:32 AM

I think Zimmer's score for THE AMAZING SPIDER-MAN 2 is worthy of an analysis. Particularly the way he uses pedal point, suspended chords, the quintal triads and slides in Harry's Suite, the Mixolydian flat 7th (common to pop music), Lydian sharp 4th appoggiaturas and so on.


'To cinematic purists we can apply Nietszche's characterization of Wagnerites: "Wotan is their god but Wotan is the god of bad weather." Then suffer, wail, and weep as you replace "Wotan" with that corrupted child prodigy "John Williams."' -- Andrew Grossman

#9 Hlao-roo

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Posted Yesterday, 04:52 PM

So no love for Rosenman?



#10 Mr. Shark

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Posted Yesterday, 05:27 PM

I love Rosenman, I'm just not familiar with his Sybil score. I know it used pianos tuned a quarter tone apart, but not much more


'To cinematic purists we can apply Nietszche's characterization of Wagnerites: "Wotan is their god but Wotan is the god of bad weather." Then suffer, wail, and weep as you replace "Wotan" with that corrupted child prodigy "John Williams."' -- Andrew Grossman

#11 Ludwig

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Posted Yesterday, 05:42 PM

I think Zimmer's score for THE AMAZING SPIDER-MAN 2 is worthy of an analysis. Particularly the way he uses pedal point, suspended chords, the quintal triads and slides in Harry's Suite, the Mixolydian flat 7th (common to pop music), Lydian sharp 4th appoggiaturas and so on.

 

I haven't heard it yet, but it sounds like a good one. It'd make a nice summer blockbuster post.


Currently on my blog on film music analysis (www.filmmusicnotes.com): Cheyenne's Theme from Once Upon a Time in the West


#12 Mr. Shark

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Posted Yesterday, 10:19 PM

 

I think Zimmer's score for THE AMAZING SPIDER-MAN 2 is worthy of an analysis. Particularly the way he uses pedal point, suspended chords, the quintal triads and slides in Harry's Suite, the Mixolydian flat 7th (common to pop music), Lydian sharp 4th appoggiaturas and so on.

 

I haven't heard it yet, but it sounds like a good one. It'd make a nice summer blockbuster post.

 

It's a really fun score, much more colourful than MOS IMO (which I still like). The Dubstep moments are bit Marmite, but I think you'll dig it.


'To cinematic purists we can apply Nietszche's characterization of Wagnerites: "Wotan is their god but Wotan is the god of bad weather." Then suffer, wail, and weep as you replace "Wotan" with that corrupted child prodigy "John Williams."' -- Andrew Grossman




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