Leaderboard

Hi everyone, In case this hasn't been mentioned before... BFG sheet music now available in piano solo format: musicnotes only has - so far - 7 titles available digitally, whereas the hard copy folio has 2 extra selections. Publisher Hal Leonard has digital versions of all 9 cues. The piano reductions seem relatively easily arranged. No news yet on orchestral signature editions. from publisher: http://www.halleonard.com/search/search.action?_c&subsiteid=64&keywords=BFG&searchcategory=00 digital: http://www.musicnotes.com/sheet-music/show/the-bfg/0 hard copy: http://www.sheetmusicplus.com/title/the-bfg-sheet-music/20331729 May everyone be well. Cheers, Peter

Also when Harry's looking at the scrapbook at the beginning and when he meets up with Hermione in Diagon Alley. Might be a few other small references. Agree. I also suspect that the two themes were a strategy by Williams simply to avoid repetition in the ending. The first film really has two endings, both similarly cathartic moments for Harry and musically both very big and constantly building pieces. I wonder if Williams looked at those two sequences and decided he would need two related but distinct themes so as to give each their own musical identity and not feel like the same beat was repeated twice. So throughout the film and score, you have the friendship/triumph theme essentially building to the House Cup moment while the home/family theme builds to Leaving Hogwarts. It's one of the many successes of Williams' score IMO that musically he was able to really give both the House Cup and Leaving Hogwarts the feeling of these equally huge emotional climaxes back-to-back, and yet one seems to lead into the other without the latter feeling redundant. I've always thought it would have been nice at the end of 4, 5, and/or 6. Especially 4 and 6, they have those warmly comedic interactions where the "playful" motif could have worked leading into the friendship/"Wondrous" theme. Boo hoo!

It's familiar territory for Johannsson and not necessarily his best, but it has some lovely ideas.

Recently got the Spielberg/Williams Collaboration and found myself focusing on "Out to Sea/Shark Cage Fugue", specifically a moment about 15-16 seconds from the end with this triumphant lift. Elevates the track to a standalone piece and even a sense of 'epic'. Might consider the Intrada 2CD of Jaws soon enough.

David Yates reveals the second film will take place in Paris, France

Playing the suite tonight. We're not doing the concert arrangement of Jedi steps, we're playing the end credits version. I have to say it feels a bit weird to repeat Rey's theme and March of the Resistance so close after playing their respective movements. Of well, pretty fun to play as a lead trumpet player. Ensign Kim (Garrett Wang) is the host. Obviously we're playing a Star Trek medley

I don't really care.

I'm just glad Superman has finally been given a new visual identity. For too long so much Superman related live action media had been piggy backing from Donnerverse aesthetics, like Smallville and Superman Returns. Whether it was Kryptonian crystal-based technology or even Williams' score, I got sick of seeing and hearing it. Then this Snyder fella comes along and gives it a much needed revitalisation. I'm developing a deeper respect for his creative eye.

's two weeks left until the deadline, plenty of time to sign and write! There's two weeks left until the deadline, plenty of time to sign and write! Remember if you enter, you will receive feedback from professional composers: 1) William Stromberg - Composer best known for Trinty & Beyond and Starship Troopers 2 and Master of Re-recordings. 2) Alain Mayrand - Composer best known for The Legend of Silk Boy and Orchestrator/Conductor of Elysium. 3) James Peterson - Composer best known for The Red Canvas (with its 12 minute Ballet for Brawlers cue).

Alien Resurection is an outstanding film!

A perfect example of what you say is Hedwig's theme, presented in a short version at the beginning of the album ("Prologue") and in an extended concert suite at the end ("Hedwig's theme"), which includes new developments never heard before in the album.

After all the posts we've had together? Et tu, Alex? 2001 is one of the greatest films ever made. Period. I have thought that since I first saw it, in 1968, then in 1978, on TV, on DVD, in a pristine 70mm print, in 2001, six months later, in a 35mm reduction, and now on Blu ray. I don't hold DRACULA in the same esteem, as ALIEN, but I appreciate that it has some great production values. Personally, I love both THE THREE MUSKETEERS, and THE FOUR MUSKETEERS

It is a bit like Benjamin Britten's A Young Person's Guide to An Orchestra type of affair where different instrumental groups are highlighted until they are drawn together in the finale but Williams illustrates them with different themes, not variations on a single one like Britten. Williams says in the notes for the Children's Suite about Harry's Wondrous World: My guess is that Williams conceived the piece with a dual purpose in mind, as an ending for the suite and as part of the end credits. The revision for the Children's Suite is nothing new for Williams who often revises his compositions for the concert setting. Another good example of his revised concert material ending up on a sequel album is The Lost World where the Theme from Jurassic Park for the end credits uses the revised concert suite version of both the "dinosaurs" theme and the "JP fanfare" theme where the opening is considerably faster and the fanfare section is beefed up a bit and it concludes with the T-Rex Rescue & Finale ending fanfare.

.

A.I. Artificial Intelligence Close Encounters of the Third Kind ABZU Return to Oz Karol

The children's suite and harry's wondrous world are entirely different beasts. Children's suite is truly a minature - small performances, often solos of melodies. Harry's Wondrous world suite is a gigantic symphony in comparison with extremely dense and brilliant orchestration and a very sophisticated flow between 4 (or up to 6) themes and motifs depending upon what you count. It is one of the standout tracks of his career. The sheer grandeur and envoloping warmth and majesty of it all is breathtaking. And like you say, if you count the main harry potter theme as 2 themes, then hedwig's theme track actually has 3 themes. Even the flying theme as an A and B part. This score is simply overflowing with imagination, Williams was spinning theme after theme after theme in a way that literally no one else can do. And his orchestration remains the most sophisticated and elaborate in Hollywood.

HBP is a very funny film that balances light and dark very well. It grows on me every time I see it.

I suppose Shore's process could be best described as sketchy. At best.

I got to see when he came through Austin back in June. It was such a cool show! And all the more amazing since it's the kind of thing I never would have even conceived of getting to see. The band was a bit more rockin' than the mainly electronic sound on some of his scores—that Escape from New York video is a good example. I thought the Halloween theme in particular sounded incredible with the full band. Here's a potato quality pic I took:

Since it's basically Halloween

The only thing that might work for me is a Rocketeer crossover. And I don't mean some reboot version with a black chick playing The Rocketeer, I mean the real Rocketeer. Cliff Secord portrayed by Bill Campbell. They both fought Nazis in a 1930s setting, they both had spectacular scores and they're now both owned by Disney. It's a no-brainer.

My beliefs are offended by you calling alcohol bad. Please apologise immediately and unconditionally.

Giant, part-time.

Troooooooooolllllllllll in the forum!!!! Trooooll in the forum. Thought you outta know...

I like where this thread is going

Do we have to take this to the snuggle thread?

Here's the scenario: John Williams is entering the studio with the awesome orchestra of your choice. The plan is to record an album of concert arrangements previously unreleased, rarely recorded, or just unrecorded by that orchestra. Name your track list; let's say you get 12. Here's mine: Orchestra: Chicago Symphony Orchestra (Why not? They sound amazing, they're my hometown band, and their only Williams recordings to my knowledge are the Geisha cello suite and the Lincoln soundtrack.) Track List (in no particular order) Getting Out the Vote from Lincoln (orchestral concert version that lays the OST version out flat) Marion's Theme (2008 concert arrangement) Suite from the BFG (concert version from Tanglewood with magical string intro) Stargazers from E.T. (stunning harp-and-orchestra extension of "E.T. and Me" he arranged for the BSO's Ann Hobson Pilot in 2009 and never recorded) Igger6's Custom Star Wars Rarities Suite: The Flag Parade (concert version, which I've only seen recorded by Prague) The Asteroid Field (concert version) Han Solo and the Princess (concert version) March of the Resistance (at JW's preferred tempo, whatever it is, so we can all stop speculating) End Title/End Cast from Jaws 2 Meeting in Sicily from Monsignor (Erik Woods says this was supposed to become a concert piece called, I think, the "Promenade Overture," which either never came to fruition or at least wasn't recorded. Either way, it's brilliant.) Theme from NBC Sunday Night Football (newly arranged for this album if a concert suite isn't already sitting somewhere in Johnny's sock drawer) And of course, the Fanfare for Michael Dukakis. You try!