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Almost 2 years since the set came out and we're still making discoveries! The Dementors Converge After re-listening to Watching the Past (Alternate), I thought the ending was really similar to The Dementors Converge (the track from the OST) except that there is no horn playing the past theme. The waveforms also look almost identical between both tracks (except of course during the horn sections): So after lining up both tracks as perfectly as possible (very hard in this case because there seems to be a ~0.001% speed difference), I tried to invert one to see if I could isolate the horns, and here is what I got: Even though it's not perfectly isolated, this clip clearly proves that the section from Watching the Past (Alternate) (1:13 to 2:00) comes from the same recording as The Dementors Converge (1:46 to 2:31). The horn was just an overlay, used for the OST track. So I came back to the liner notes and found that The Dementors Converge is described as a "pre-recorded version of the Patronus music that was utilized for the original album", whereas the alternate to Watching the Past is said to contain an "initial version of the Patronus music". No mention about the fact these two cues actually share the same material! The Patronus Light Another thing I found is that The Patronus Light, while described in the liner notes as "the discrete choral component of that pre-recording [here referring to The Dementors Converge]" is actually used in the film score as an overlay in Watching the Past ! Again, after lining up both tracks to be sure it was used, I found out that The Patronus Light seems to be used as an additional choir section for Watching the Past. The cue is shortened and doesn't appear as heard in the album but I can confirm the take we have on the original album (and also on the LLL CD7) was used in Watching the Past. Here is my attempt at removing that overlay from Watching the Past (notice how different the choir sounds like, especially in the beginning): It also seems like Mike used the ending of The Patronus Light to present the clean ending for Watching the Past on the LLL set (Mike had to use the OST master for this cue, not the 192k high resolution source that he mainly used for HP3). Did you know all that @Jay?

Realizing that the time to Season 2 is waning, I am trying to get back on schedule with these little write-ups before the tidal wave of new music hits us in the coming months. With Chapter 3, Goransson has already firmly established all parts of the main theme, and can now tinker with it and others as he chooses, providing new opportunities for permutation. Unlike some of the other chapters, there is no new theme introduced here. However, much like the others Goransson shoots for an overarching sound rather than a specific idea. Let's dive in! We open A New Day with the return of that mysterious baby theme, full of little edges and nuances that form something of a question mark with each plug of the guitar. The new twist here is the simply gorgeous oboe counterpoint that enters later in the melody, which I think to be the most precious and delicate passage in the entire show thus far. The gentleness of that moment quickly fades as we are reminded of what this episode promises to show: Mando delivering the child to the client. The Mando & Child motif is at it's darkest here, booming from the brass section in what is a definite "I-can't-believe-it's-not-Kylo-Ren's-theme" moment. The strings climb their way out of that statement and the focus turns to atmosphere, setting the staging for a good deal of snooping music later on. We hear shades of Killmonger with a wild wind instrument flourish, and return to the dark, plotting setting of the client. As the Beskar reward is presented to Mando, the recorder theme gets an especially soulful playing, as if carrying the weight of the entire Mandalorian culture and its history with it. The title card flashes on screen accompanied by horns, and in this instance the second downbeat is given the greater emphasis. Mandalore Way provides familiar samples of the so-called utility themes, and is essentially a continuation of Chapter 1's Back for Beskar. We get a highly percussive showing in the middle of the cue, and a standard recorder riff rounds it out. Signet Forging is without a doubt the standout cue of the album. It marks the second of three flashback setpieces, and is most similar to Chapter 1's HammerTime. The strings tap into the chant like quality of the forge motif and take on the recorder theme, this time supported by a set of bridges in between each outburst. At 1:28 three confident notes play into the triumphant climax: a brass setting for the riff, with strings playing opposite. This development is the defining musical advancement of the episode, and provides for a satisfying peak to the piece as a whole. An unreleased cue, titled Mando's Back, either refers to Mando entering the bar with his new armour (we hear the guitar wail and thumping drums) or when Mando shuts down the Razor Crest and returns for the child (underscored by a sadly unreleased development of the baby theme). No other cue title appears in the repertoire at this time. Second Thoughts is a return to the sneaking atmosphere set down earlier, with the orchestra only adding effects and riffing on the utility motifs when needed. Otherwise, this part of the score is largely computerized, allowing Goransson to dig into his hip-hop background. Whistling Bird opens with the utility theme, tension slightly released for a moment, before dipping back into the electronics. We get another whirl from that Black Panter-esque flute (or what you will). Around 1:53 we hear a little wind line as Greef Karga attempts to reason with Mando. I recall this appearing again in a later episode for a similar scene, but do not remember specifically where that was. Your Only Hope, presumably completely unreleased, seems to be edited and moved around within the episode proper. Electronics give way to the brass recorder theme, accompanied by a beat. The edited section leads from the end into Mando Rescue, the album version of which is not exactly the same as it is in episode either. The child motif pings away sweetly, overtaken by an exuberant utility motif and then straight down to business with a hip hop beat. The forge motif gets a run as an action ostinato, with brass and drum machine dressings. We once again build up to a recorder theme statement from the horns with strong counterpoint before the wild flute whistles out the cue. I Need One Of Those recaps every aspect of the main theme, the recorder and Razor Crest ideas dancing around each other, with a Western motif asking a question at the end of the line. The fanfare gets a really neat go as a slow march, and a quick skeletal riff outro and fluttering synth blast us away into the credits. Here's hoping I can write about Chapter 4 real soon. Looking forward to Season 2 very much, and excited to see what our current catalogue will look like come January 2021. Thanks for reading and cheers!

"Songs", "tunes", "songwriter"

We have no idea what the recording dates are for the individual cues in this score, unfortunately I'll look into the other question(s) after work some time

Always two there are.

https://freegametips.com/medal-of-honor-above-and-beyond-interview-with-peter-hirschmann/

Excellent post Chewy Lots of cool info. As an audio guy I really appreciate the phase cancellation to isolate the horns. Awesome stuff.

We can all take it in shifts to moderate the forum until Jay's spreadsheet is ready.

Dreamworks Pictures closed shop, so Paramount owns all their films now, except the ones that were co-productions with other studios A.I. Artificial Intelligence is really WB's; The LLL expansion says "Executive in Charge of Music for Warner Brothers: Gary Lemel and Doug Frank" Minority Report is really Fox's; The LLL expansion says "Soundtrack executive for Twentieth Century Fox: Tom Cavanaugh" War of the Worlds is really Paramount The ones that were not co-productions eventually got absorbed into Paramount after Dreamworks failed Amistad Saving Private Ryan - the LLL edition says "executive in charge of music for Paramount Pictures: Randy Spendlove" Catch Me If You Can The Terminal A hypothetical expansion of WOTW, Amistad, CMIYC, or The Terminal would likely have the same Spendlove credit that SPR does

The LLL organizes the music in the best possible way. Still, I'm not sure whether it was necessary to include the film versions of the Main and the End Title that merely swap out the march after the prelude. There is just an Superman March overload on disc two.

Anybody besides me watch this video? I thought it was really interesting! He breaks down all the different parts of the main theme and how they came to be and what he represents with them

I watched Tous les matins du monde directed by Alain Corneau, and based on the 1991 novel by Pascal Quignard, who also helped to write for the film adaptation. The film focuses on 17th century French violists-composers, who perfected the viola da gamba and the playing technique - Marin Marais, his teacher Jean de Sainte-Colombe and his two daughters. Not much evidence survives about their personal lives and relationships, so it's likely that the story is mostly fiction, but I really enjoyed it nonetheless. After the film, I immediately went to Spotify, and started listening to viola da gamba pieces writen by those composers for like two hours. I did not think that I would enjoy such old pre-classical music, but it all kind of changed my mind. The emotional depth that emerges from the pieces heard in the film is comparable to composers like Frédéric Chopin. The film really opened my eyes to some very old music, which I had considered to be too primitive before.

I have no idea where the CD is, so I bought another copy.

You're the living proof, Arpy.

Ebola Holmes??

Or he's setting up his own RC empire with minion clones.

Yeah the source music is a great inclusion. I must admit I don't think I've listened to the album itself since I first received it - I appreciate the care that went into the creative split between the discs, but I still prefer to listen to my own mostly chronological sequencing.

Good of her to sterilise the mouth piece, even before COVID was a thing. Of course, what she should have done is stuff Williams with cookies until he agreed to write solo horn arrangements and a new concerto for her.

That's an understatement. It's a masterpiece.

David Arnold 1995 Stargate 1996 Independence Day John Barry 1990 Dances With Wolves Elmer Bernstein 1981 Stripes 1984 Ghostbusters Bruce Broughton 1985 Young Sherlock Holmes Don Davis 1999 The Matrix 2003 The Matrix Reloaded Danny Elfman 1990 Edward Scissorhands 1995 Mission: Impossible 1996 Mars Attacks! 1999 Sleepy Hollow 2004 Wanted 2012 Hitchcock Michael Giacchino 2004 The Incredibles 2005 Sky High 2007 Ratatouille 2009 Star Trek 2011 Super 8 2011 Cars 2 2015 Tomorrowland 2015 Jurassic World 2016 Star Trek Beyond 2016 Doctor Strange 2016 Rogue One 2017 War for the Planet of the Apes 2017 Coco 2018 Bad Times at the El Royale 2019 Jojo Rabbit Jerry Goldsmith 1966 The Blue Max 1968 Planet of the Apes 1973 Papillon 1976 The Omen 1978 Capricorn One 1979 Star Trek: The Motion Picture 1981 Inchon 1982 Poltergeist 1982 The Secret of NIMH 1982 Inchon 1987 Extreme Prejudice 1987 Lionheart 1992 Love Field 1995 First Knight 1996 Chain Reaction 1996 The Ghost and the Darkness 1997 Air Force One 2000 Hollow Man James Horner 1982 Star Trek II: The Wrath of Khan 1982 48 Hrs 1983 Krull 1983 Gorky Park 1985 Cocoon 1986 Aliens 1988 The Land Before Time 1988 Willow 1989 Field of Dreams 1989 Glory 1991 The Rocketeer 1993 Searching for Bobby Fischer 1994 Clear And Present Danger 1995 Braveheart 1995 Casper 1995 Apollo 13 1997 Titanic 2000 How The Grinch Stole Christmas 2003 Radio 2004 Troy 2005 The New World James Newton Howard 1995 Waterworld Michael Kamen 1991 Robin Hood: Prince of Thieves 1999 The Iron Giant 2000 X-Men Joe Kraemer 2015 Mission Impossible: Rogue Nation Mark Mancina 1996 Twister Bear McCreary The Rings of Power Ira Newborn 1986 Ferris Bueller's Day Off John Ottman 2014 X-Men: Days of Future Past John Powell 2008 Bolt 2017 Ferdinand 2010 How To Train Your Dragon 2014 How To Train Your Dragon 2 2018 Solo: A Star Wars Story Craig Safan 1984 The Last Starfighter Alan Silvestri 1987 Predator 1988 Who Framed Roger Rabbit? 1989 The Abyss 1989 Back To The Future Part II 1990 Back To The Future Part III 1990 Predator 2 1995 Judge Dredd 1997 Volcano 1997 Contact 2018 The Avengers: Infinity War Hans Zimmer 2014 Interstellar

Why's Jay always so massively invested in telling people what is and what isn't a Netflix original? Is it a hobby?

Unused opening fanfare for Superman: The Movie (original 1M1):

There’s actually yet another variant of the main title, but it wasn’t recorded, or even orchestrated. The original 1M1 was sketched with a different opening fanfare. This was replaced prior to orchestration by the familiar “Theme from Superman” opening fanfare, labeled “1M1 Main Title (B)” on the sketch. Here’s a mockup of the original opening:

Falcon's Flight has already entered the Williams hall of catchy tracks for me. My head plays it sometimes when I am in a hurry.

Fascinating! So we only actually have one proper take, the final one, for Dementors Converge? After the original ending (Patronus Power) was rejected and Watching the Past (alternate) written, did they just track it in with an overlay as a semi-temporary version that JW liked and put on the OST; then the film version got written? Or did he just do this for the OST for the heck of it? Or is Watching the Past (alternate) something else? Watching the Past without Patronus Light is very interesting too - but so is the fact that yet again Mike didn't have access to the separate complete mixed takes and had to use the OST here too and create false endings to cover up a crossfade just like we do for stupid track combinations. Maybe WB (Music?) really didn't have their shit together and Mike said he can't do their job for them all the time, he'll take what they have and do whatever he can to be as complete as possible and finish before the year's over? Those booklet quotes were always weird. How on Earth could Dementors Converge (OST) have been a prerecording? And Patronus Light has nothing to do with it, it's for Watching the Past! It's Patronus Power that's an earlier version of Dementors Converge!

I connect with the story on a different level now that I'm a parent myself.

I'm glad they weren't forced on this release because this way I don't have to own them!

It's entirely possible he doesn't even know that there exists new editions of Superman 2, 3, and 4 I don't think anybody on this forum can tell us JW's reasons for not liking certain music he wrote in the past. You'd have to ask him yourself

Sometimes a spade is a spade, it's not a thousand labels. Escapist, blockbuster, art house, who gives a fuck?

What time period does Golden Age constitute with film scoring?

The movie is indeed woeful, but the score is great. JW tells with his music the history that Spielberg couldn't with images and dialogue

The score I listen to, in small doses, always with a liberal supply of insulin standing by. I don't care if I never see the film again, for as long as I live. Even Spielberg hates it, and he directed the bloody thing. That should tell you a lot.

No HP4 for BF again

it’s all so so dumb

Yeah, love this scene. Munich actually features some of the fanciest and most complex single Spielberg shots ever... I know many don't know this. There's another shot which takes place inside a car with the assassins sitting inside (making use of the rear view mirror), which stuck in my mind.

3M4 Quicksand! would be the earliest version he wrote for that scene. 2M32 Quicksand would be a revised version he wrote after the scene had moved into reel 2 1M3 and 1M4 were already dropped from the film by the Nov 11 cut

I like the cut of his jib, very suave and handsome... for a yellow fellow.

https://www.dailywire.com/news/harry-potter-actor-robbie-coltrane-who-played-hagrid-defends-j-k-rowling

So...where's it gone?

Underrated film score right here.

They also filmed a completely new b plot for "The One Where Rachel Tells..." involving Chandler and Monica's honeymoon, because the b plot they originally shot involved them joking about bombs in an airport and getting interrogated by airport security

That could very well be it, yea! Williams provides little flourishes sometimes for the things going on in outer space Check out 3:25 for example

Shouldn't he write for a German-organised one? Maybe 2036, a nice anniversary one in Berlin.

Hello all. New member here. Saw this great rendition of Duel of the Fates by the famed Mormon Tabernacle Choir. Thought I'd share with you all.

I have no interest in ever buying any vinyl records, but damn the artwork on this set is aces https://mondoshop.com/blogs/news/music-weekly-the-mandalorian-season-one-boxset

When inspecting the waveforms and trying to line up both tracks so that I can see the differences perfectly, here is my conclusion: From 2:15 to 2:19,5 : both tracks are equal. From 2:19,5 to 2:28,5 : the performance sounds different between the tracks. If we focus our ears on the bass, we can sense that the performance isn't the same. From 2:28,5 to 2:29 : this very little section is identical on both tracks. From 2:29 to 2:31,5 : another small performance variation. Here again the bass is the most noticeable difference between both tracks. From 2:31,5 to end of Newspaper Headliner : both tracks are equal. Here's a screenshot of the waveforms differences : So, don't worry @Jay, to me the liner notes look correct!

"Additionally, the sites announced that they would refer to the author as #JKR in the future, allowing fans to easily mute the hashtag to prevent posts about the author from appearing on their social media feeds." She who must not be named??

Yes, DH1 is a really intelligent score.