Leaderboard

Shouldn't that be Tooth? Hopefully when they finally create a cover for The Sugarland Express soundtrack in far future they take note of this trend and use this poster as reference for it.

Why does Jurassic Park get to have all the attention?

Fixed version:

Let's modernize the original Spielberg monster movie classic soundtrack cover too! Scary huh?

Ditto.

Funny alternate cover I saw posted in the FSM thread

@Will There is no need in finding the key of a single note (that is impossible), the point is that you look at one note in the interval and derive the major scale from it. E.g. if you see a G then you have G major. Or B = B major. Then you look at the other note and decide whether or not it is part of that scale, if not then you try upside down... I agree with Hawmy that this is not a very good way of teaching it as it's using a "trick" which makes it more confusing than it should be! So let me try to explain intervals as rigorously as possible: Firstly, it's very important to remember that interval sizes (second, third, fourth....) are determined solely by the note names. For example, B-C is a second, D-F is a third, G-B is also a third, and so on. This is true irrespective of the accidentals. So now, say you have a third (e.g. D-F). How do you know whether it's major or minor? What you can do is look at the half-step distance between the two pitches. D-F has a half step distance of three, which makes it a minor third. If the interval were D-F#, it would be four half-steps, making it a major third. From the above post you appear to understand this, but the question we have now is this: Why is a major third four half-steps, and a minor third three half-steps? And what about sixths, where a minor sixth is eight half-steps and a major sixth is nine? Where do these half-step distance "definitions" come from? In the very top diagram in the "Imperfect intervals" theory sheet, there is a series of intervals based on C. The bottom note is always C, and the top notes make up the C major scale. All imperfect intervals in this series are major. Hence, C-E is a major third because E is part of the C major scale, C-A is a major sixth because A is part of the C major scale. In the same way, D-E is a major second since E is part of the D major scale. D-B is a major sixth, for the same reasons, etc. etc. So you don't have to memorize the number of half-steps for each interval, because the major scale of the bottom note automatically gives you all of the major intervals. What about minor intervals? There are two ways of deducing them: THE EASY WAY - Minor intervals are a half-step lower than major intervals. THE COMPLETIONIST'S WAY - Minor intervals arise from the natural minor scale, which is explained a few pages along on that site but is simple enough to outline here. Basically, the natural minor scale is the same as the major scale but the 3rd, 6th and 7th degrees are flattened. E.g. C D E F G A B C becomes C D Eb F G Ab Bb C. This is where the minor third (C-Eb), minor sixth (C-Ab) and minor seventh (C-Bb) originate. However, the second interval remains unchanged (C-D), but we still call it major (C-D) and minor (C-Db). This arises because each interval can be inverted to form another, unique interval. To invert an interval, you take the low note and place it an octave higher. So, inverting a perfect fifth (e.g. F-C) you get a perfect fourth (C-F). Inverting a major sixth (e.g. B-G#) you get a minor third (G#-B). Inverting a major seventh (e.g. C-B) you get a minor second (B-C). And a minor seventh becomes a major second. So, you see, following the pattern of third <-> sixth, where major <-> minor, it makes sense to do the same with second <-> seventh, because a seventh interval can definitely be major/minor, so a second interval can be minor/major too. After all of this, it's necessary to stress that the bottom note of an interval actually has nothing to do with the key of the entire piece. It's only the scale of the bottom note in the interval that can be used to work out the name of the interval. Anyway, don't let all the "why-s" faze you; in practice, the most important thing to remember is that the major intervals can be deduced from the major scale of the bottom note, and the minor intervals are one lower than the major intervals.

Yes! And we really need a rerelease of The Reivers, too!

There you go, you lazy fellow!

These are more tributes to Carrie Fisher than Williams, but still, there have been some wonderful/cool interpretations of Leia's Theme in the past day or two: A bell tower: Classical guitar (really peaceful, and nice cameo of another theme at the end): Cello (especially sad sounding): Acapella: I'm sure there'll be more in the coming days.

Heard most notably in "A Long Ride Ahead," at the end. I actually rather like that Mustafar fanfare. It's grown on me. I like the rhythms. It has a sort of lovely almost "swaying" quality.

Fitzwilly – Special Archival Edition [Original MGM Motion Picture Soundtrack] Great to hear the stereo original album in such quality! A great addition to my collection. About the film mono recording (with it's almost inaudible dialogues in the background) well it's a curiosity, but Music Box Records did well to fill the CD with it. After all, for "archival" purpose, it's not bad to have access to such an "isolated score" even if it's in mono like this. Great job Music Box!

I'd forgotten just how damn good this song was. Brings me back to my tweens this one, and memories of a school friend who moved to New Zealand and we lost contact. We used to love that album (Graceland)

Well excuuuuuuuuse me!

Man if I had those sessions to Azkaban I would listen to them all day

Sat and watched Jurassic Park with four kids today, aged between 4 and 7. They got a bit bored here and there, but overall they were thrilled with it. I was too actually, it's been quite some time. In fact I thought it was awesome! The cast are brilliant, and so is the script! Always the most popular element to slag off on forums, I think it's sharp, constantly observational before 'meta' became a thing and packed with incidental lines which pad out what might have otherwise been rather dull moralising dialogues (the debate in the darkened room where each of the main characters are given their moment to share their reservations is legitimately excellent in this summer blockbuster), Jeff Goldblum in particular dominates in a role which even feels a bit iconic twenty five years later. Movie felt like a little discovery again 👍 David Koepp you prick, what happened?

Its a nightmare!

Are they chicken? Are they eggs? Are they in between your legs?

Bourne got less interesting once we got to learn more about him.

Warner Brothers seems happy to license out their old films, and LLL has a great track record with them so I have hopes for the Harry Potters. Of course sometimes with these huge franchises, the studios like to keep the rights so they can put out something themselves, then seem to never do so. ET is Universal - and after BTTF 1-3, Jaws 1-4 and JP 1-2, with word that JP3 is coming - I would think ET is more possible than ever! Raiders is Disney now, and I doubt they'd ever let a specialty label work on it - or Star Wars either. Hopefully if they ever put out expanded releases of their Lucasfilm scores themselves, they hire Mike Matessino to produce them.

Probably something like that. They commented that they were "unable to post the full video at this point". Beautiful opening solo!

Imagine having to set though the music edits of your score...

Oh I absolutely believe it. These movies are part of his job. He watches them professionally. But I doubt he ever pops in a DVD or a rainy evening. Williams has gone on record several times anyway saying that he doesn't watch movies a lot. And if he does I doubt he picks one which he saw professionally 50 to 100 times.

I would be completely unsurprised if another replacement composer comes in before this gets released. Hell, I wouldn't put it past Ridley to ask HGW back.

That's a pretty good haul. Enjoy!

No, Drax. 2016 took Debbie, just like it took everyone else. This is personal. Didn't you see Final Destination?

Here is my review: https://cinemusicreviews.wordpress.com/2016/12/29/rogue-one-a-star-wars-story/

Star Trek His Erection is okay, but Star Trek Penesis is underrated.

At least they don't have the insane dynamic range of James Horner's CDs in the 90s. You really want to crank up the softer parts, but then it gets loud and your equipment explodes.

They're just random crappy adventures/guilty pleasures with stellar Goldsmith scores.

From TMZ: Just the most heartbreaking and surreal thing ever. Princess Leia's mother died of a broken heart. Rest in peace.

Jesus, this is awful.

Yep! Dunno why, but my brain kinda keeps track of where the volume knob is at, so when I've turned it up a little for the quiet parts, I still have some subconscious sense of it being quiet. And as I said, I still don't crank the quiet passages as loud as this set does...it's more subtle. And if I'm listening on nice speakers in a quiet space, I might not even touch the volume. With this new set, I almost want to turn the volume down in the quiet parts. Which is, I suppose, what I've done for my edit.

- They were able to track his movements based on the breadcrumbs (Skittles) Elliott left for him, and Elliott and Michael's suspicious behaviour in the neighbourhood. - Beside ET, no other aliens were in the house. He was sick because he wandered off and fell near a river... as far as I can recall. This leads back to Point 1 - when Michael throws a sheet over ET, he's caught by a helicopter, which you only hear. They obviously followed him when he took ET home. - ET had telekinetic powers, so it's no stretch that he psychically imprinted on Elliott, which was established when Elliott got drunk at school when ET was drinking at home.

Of course, fucking of course! I'd pay for the effing thing, myself, if I could. I make just three demands: 1/ it's recorded at Abbey Road 2/ it's performed by the LSO 3/ I'm at the sessions (sorry, but it's my money)

So another big Hollywood blockbuster that's being scored by an unknown? In 1979 Ridley employed the services of Jerrald King Goldsmith. Already a veteran composer at that time. These days he just uses anyone...

Oh, Williams won by a mile. Of course aided by the fact that almost all of the HZ arrangements were lacking the power of the original versions (brass in particular), whereas the Williams pieces are exquisitely orchestrated and were designed from the ground up for that ensemble.

Two world wars and one world cup! A short but heartfelt tribute from Mark Hamill.

.....

Giacchino has said on twitter that he'd like to be a guest on Star Wars Oxygen to talk about Rogue One. I hope it happens so we can have a first hand account of the score. It's basically unheard of; that we get composers of these massive films on these specialised podcasts to talk in huge detail about things. I did interview Silvestri and McCreary a while back for my podcast, but it was mostly an overall interview and not about a specific score. Though we did get into some details about certain things like instrumentation and themes etc, especially with McCreary.

Its weird that the closest thing to peeks into the Ep 8 scoring sessions are photos of Kobe Bryant in casual clothes sitting around with old white men. Someone needs to leak some session tapes or just ask Kobe what he remembers from the new music!

But I thought Williams violently masturbated daily whilst listening to the Imperial March? The dream is crushed!!

I wish more than anything that Edwards would just replace Trevorrow on Episode IX.

I'd liken exploring the intricacies of the Force Awakens score in the month following its release to going on a voyage of discovery on a wide ocean; it was truly exciting. Exploring the Rogue One score is like splashing around in the kiddie pool at a Disney hotel. All of his choices are screamingly obvious. Stuart, who just listened to the newest Star Wars Oxygen EDIT: Oh! And this isn't to say that I'm not enjoying the score more than I did a week ago. The melodies and the movie itself have had time to ingratiate themselves to me over this week. I'm just noting that this time isn't as thrilling as the same period last year.

This interview is hilarious! It's all things we've heard JW say before but presented with so little context or tone that it makes him sound like the post negative, depressed composer in the world.

It's horrendous. Now this is fan service at its lowest.

Samme here so many wonders with it I bet!

Really? There's only one answer: CLOSE ENCOUNTERS OF THE THIRD KIND, with bonus complete score in DTS MA 7.1, remixed by either Steven Wilson, or Elliott Scheiner. It's been a personal goal to hear THE ELEVENTH COMMANDMENT in its full form.