p0llux

Damnit Ludwig, just say you're not good at orchestrating instead of this lame ass excuse.

A pretty great and uplifting theme — the balance of orchestra and synths keeps it engaging throughout. My only minor gripe is during the second repetition, it could have used a few more embellishments from other sections of the orchestra.

Lfg

I'm currently playing: Schedule I Helldivers 2 The Elder Scrolls IV: Oblivion Remastered Clair Obscur: Expedition 33 (Starting soon)

With the GTA6 news, next May is gonna be a banger.

You guys already posted all the ones I liked. So, I'm gonna post one not from Williams, but from the wonderful Miklós Rózsa.

Does anybody have a chronological order playlist of Wicked's song album and the score combined? Similar to what they did with La La Land? edit: never mind found it.

It does now, by yours truly.

I liked his golf swing.

I generally like Charles Cornell's videos. He doesn't break down orchestration, but he's good at getting you hyped about the music and breaking down the chords. It's pretty surface level stuff, but it's a great place to dip your toes into chords for beginners and casuals.

What if I like John Cage - 4'33?

But what is music?

True, which is why I didn't say composers "definitely" keeps things fresh when writing for living musicians. I'm aware of how scores are made these days and the state of film music in general. Anyways, that "logic" is how I approach music personally, and it's how I discovered John Williams and this forum.

These decisions are always controversial, but given Zimmer's way of making music, this wasn't surprising. Composing for an orchestral tapestry vs composing for a digital audio soundscape are different. While both are prone to copy pasta, one of these is far more prone to copy pasta. I think composers are more likely to keep things fresh when composing for living breathing musicians than composing for it to be played back by synthetic instruments on a PC.