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I just saw this on the Facebook page of JoAnn Kane Musice Service. Proofing John Williams' sketches for his latest movie project, "The Book Thief". There's little doubt that's his handwriting.

Sparked on by recent discussion on suspended chords, I'd like to see others have a go at analysing these chords from Jerry Goldsmith's Planet of the Apes. This passage has always stuck with me. Tonal-sounding chords in an atonal context, though I've got a feeling that they're more colouristic than functional. Here are the 8 chords with left to right being top to bottom (screen capture isn't working), with my attempts at naming each chord. These are all transcribed from Goldsmith's sketches. Chord No. 1: Db-Bb-Eb-C-F-C = ? Chord No. 2: Eb-Bb-Eb-C-F-A = ? Chord No. 3: Cb-Bb-Cb-Bb-Gb-Bb = ? Chord No. 4: Gb-Db-Eb-Ab-C-Eb = ? Chord No. 5: E-B-E-A#-C#-F# = ? Chord No. 6: Db-Ab-Db-F-C-G = Db Lydian 11 Chord No. 7: G-D-E-A-B-E = G 6/9 Chord No. 8: F-C-A-Db-Ab-Db = F #9 b13 The key theme is perfect fifths in the bass (with the exception of No. 1) juxtaposed with fifths, major triads or major thirds in the treble clef - together creating quite complex extended chords. This left hand/right hand class is pianistic in nature, and explains the enharmonic contradictions in the accidentals (i.e. A and Ab in No. 8). As you can hear, above this the main theme (a 12 tone row) is played by muted violins and later alto flutes with muted horns.

How they hell did they hook JW? Can we hire him? We should hire JW to write a theme for the 15th anniversarry.

Yes, Angela's Ashes for instance (coincidentally also starring Emily Watson). He revealed he was working on the project during a promotional chat for TPM. I remember! I remember also that I read the chat transcription on the very early JWFan website back then. Internet was just arrived at home for me!

Wow! What random news to read checking into the site for the first time in a few days. Talk about coming out of nowhere! Someone needs to interview Williams now about this project!

This is great...and it's not only proof of Williams sustained stamina, but that he has somewhat of a 'new spring' -- what with the increased concert ratio, accepting the new STAR WARS, the concert works left and right and now also a new score not for Spielberg. It's a fairly common phenomenon for 80+ years olds when they realize it's nearing the end, but at the same time feeling in good shape and the self-inflicted pressure that they have a lot more to give! I love it.

Heavy drama stuff...depends on the strength of the theme, could also be fucking boring.

The OST version is completely serviceable I'm sure. But the film version is so much grander. It really conveys the majesty of the King of Horses brilliantly.

OK Steven, time to find something worthy for JW to score!

He should turn his Napoleon mini series into a feature. A John Williams Napoleon score...just the thought

For the better, obviously

He, he. Right, because THE HUMANOID is considered his magnum opus! Personally, he's always been a bit on/off to me. When he's melodic, he's bloody brilliant and ahead of most anyone else, but when he's in that dissonant mode, I can't stand him. I like some dissonance; just not the Morricone kind.