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Back to Sabrina. Did you know that the Sabrina theme itself, has 3 interlocking "tarnhelm" progressions*? I tackle with this in my doctoral dissertation. Weird. I love it how Williams uses such unexpected harmonies, very unusual too for a romantic theme. *it's the main harmonic progression of i-bvi we find in Darth Vader's theme.

Sabrina/Star Wars Cinematic Universe confirmed! SABRINA WARS: EPISODE 3 - REVENGE OF THE TARNHELM PROGRESSION

If you think that pithy little post will be enough to stop us, you’re in for a rude Sabrina 2: The Awakening.

Sabrina being an allegory for Star Wars was planned from the beginning: "Sabrina" is actually an anagram for "Lightsaber". You just have to duplicate and flip the r, extend the n, rotate the b, duplicate and cross the i, duplicate the s, and flip one a. These changed letters of course spell "brains", a reference to the immense intelligence you need to discover the truth

We don’t need him here - surely we all know that Sabrina is an allegory for all of Star Wars. If you watch it in the right way. With the right books.

If no one can hear Sabrina scream, then Linus is doing his job wrong Oh gosh, this is the silliest expansion thread ever

Score minus the songs. Besides the mickey-mousing which I'm not a fan of (but since this is an animation film with comic reliefs, it is inevitable), this is a great score! I simply love the opening theme (why they chose again to put the narration??!) and Death of the beast and Transformation are two highlights for me, with Escape from the West Wing , Wolf Attack coming right after.

Yeah. I’m lookin’ at YOU, “The Arrival at Tatooine and The Flag Parade”! I have to listen though all this boring Jar Jar Wanders Around music before my freakin’ FLAG PARADE??? So you would omit the two Williams-composed songs for the film which are integral with the score? Or the fantastic Mike Lang improvisation on one of his main themes, which was played in the podcast? Yavar

Just when you thought it was safe to go back in Sabrina... OK I'll stop now.* *I might not.

In Sabrina, no-one can hear you scream. Too far?!

Hunger Games scores are great! Back to the expansion, I really really want the Postman.

Yeah bring on Sabrina Does Dallas!

Just when you thought you knew everything about John Williams. I didn't know he got his start scoring adult films. I didn't even know they spent any budget hiring composers. How much of John Williams' "boom-chicky-wow-wow" music is being withheld from being properly expanded on CD? (Yes, I know he meant to type 'funky.' Mostly...)

This has turned into the stupidest thread about an expansion ever. Not only has the joke run out of steam, but the coal car is empty, the company supplying the coal has gone into chapter 11 restructuring, the coal mine has been depleted of all its economically recoverable ore, and, um, Congress passed an anti-coal bill with rare bipartisan support.

2073 Boardroom discussion: "Should we release an expanded version of Indiana Jones and the Dial of Destiny?" "No, I don't think it will sell." "Well, there are a lot of JWFANers who have been looking forward to it." "I know, but they are all dead."

71 minutes Raider's March (classic version) +Reprise at the end of Album Best Version of all time of the Raider's March in the underscore not on the album(aka Indy Arrives) Finale with interpolation of the Raiders March and Helena's Theme unreleased Expanded Release in 20 years(I might be dead by then)

Return of the Jedi was shown at Kinepolis in Ghent tonight in honor of its 40th anniversary, so I had to go and see it! They did show the oft-despised special edition, but that didn't bother me (save for, perhaps, the awful Jedi Rocks scene). It was really cool seeing it on the big screen for the first time and hearing John's magnificent score blast through the theater's speakers. The synergy of the underscore and the visuals gave me lots of goosebumps. Quite the experience for someone who grew up watching these movies on small television screens.

And the sequel is already filmed.

Perhaps we can lure @Mattris to the Sabrina thread...

No because I was getting ready to type that until I saw someone else quote you!

So, what you are saying is that its not the years...

I’ve loved the Party Sequence since the OST was released. A trombonist mate loved it even more, for obvious reasons. You could send me your CD2s - they’ll be properly appreciated! Mark

Bayesian is right. The titles are stupid. The sequel taglines for S2 on the other hand… Just when you thought it was safe to go back on the dance floor. If romance has a name, it must be Sabrina. Sabrina’s back in town, with a few days to kill. This time, the moonlight is personal. The Woman in the dress is back. And this time she’s bringing her date. Here they grow in love again. She’s up past her bedtime in the city that never sleeps! The Sabrina Saga Continues… Getting a date was only the beginning.

Another issue for me in the Hunger Games scores is that the music does not take for example clear position of Katniss view. Sometimes yes, then again it plays these heroic propaganda fanfares that that represent the capitols view positively staging these massacres. Of course this makes sense in the movie, Still it feels particularly inconsistent musically for me.

Confrontation With Voller and Finale

https://imgur.com/7H7zhttps://imgur.com/7H7zmpk

Lawrence directed a movie whose score I consider to be among JNH's very best: Water for Elephants. He should do more romantic dramas! And I really like his scores for I am Legend and THG sequels.

Sabrina 2: The Search For More Money

SABRINA ON THE FOURTH OF JULY SABRINA AND IRIS PRESUMED SABRINA SABRINA ALONE SABRINA ALONE 2: LOST IN NANTUCKET BLACK SABRINA

Someone made a comment that the artwork looked like it said Sabrina 2 and that’s when everyone started throwing out fake sequel names On another note, I am excited for Sabrina 3D

I love the score for Guardians Vol 2, it's one of MCU's best, and I'm genuinely sad that apparently Bates and Gunn had a falling out. Age of Ultron is one of the most underrated MCU movies. I love it, even despite its flaws. But I also have a soft spot for movies about "super teams", as opposed to solo movies.

Original coda but fading out over 20 minutes.

You mean this guy?

I saw it Friday night and yes, it was incredible on the big screen! I’ve seen it one other time for the marathon before TROS and that was the blu ray version, so seeing this was 10 times better with the better color grading.

It’s on the Intrada Soundtrack Club group. And on their forum… http://www.intrada.net/phpBB2/viewtopic.php?f=4&t=9052 I wonder why Doug Fake’s Hugo Friedhofer favorite, Joan of Arc, isn’t here as an option this time as it finished in an impressive 4th place in their previous poll, behind only the unsurprising top trio of Goldsmith/Rozsa/Herrmann and ahead of Seale’s The Haunting which is in this new poll… Yavar

Return of the Jedi (cinema) Have any of you seen this? Good flick! Fortunately the least Special Editioned on the OT. None of the changes made me feel like I'd been kicked in the goodies. (Well, Darth Vader saying "NO!" was not great.) I hesitate to say, Hayden kind of worked for me. Then I thought... They should have gone the whole way and given us Ewan. If they really wanted to tie it back to the Prequels, that would have been the way. Pity about Padme, I suppose. And since this was a legit re-release rather than Fathom the sound was AMAZING. I felt like I was at a real movie. Decent sized crowd on a Sunday, too. Didn't get many laughs. I remember seeing it on May 25th, 1983 and when Vader picked up the Emperor the crowd went NUTS. Like, Endgame nuts. But everyone applauded at the end and everyone seemed happy to have seen it. A nice demographic of nerds. There is such a difference in performance when you see it on the big big screen. For the first time I really felt during the Jabba's palace scenes that everyone is kind of nodding and making eye contact significantly. "Everything still going the way we planned it?" "Yup." I hope before I die I get to see the non-SEs of Star Wars and Empire like this. That's funny.

Intrada's Facebook page is running a poll on some potential future new recording projects, for anyone not on Facebook, they are: The Big Sleep (Max Steiner) Jungle Book (Rozsa) The Haunting (Humphrey Searle) Kings of the Sun (Elmer) Night of the Hunter (Walter Schumann) The Chairman (Jerry Goldsmith) Samson and Delilah (Victor Young) The Waltons - TV episodes (Jerry Goldsmith) Helen of Troy (Steiner) Spirit of St Louis (Franz Waxman) I voted for The Chairman... which I'm wondering could be coupled with some other stuff as I don't think the full score is super long, sure @Yavar Moradi can confirm!

Volume 8 will finally be released on May 9!! https://www.prestomusic.com/classical/products/9485142--mr-robot-vol-8-original-television-series-soundtrack

"Hungry Raptor"? They're always bleedin' hungry! Have you ever offered a raptor any meat, only for it to say: "Nah, you're alright, mate, I'm full"?

Great work! I'm glad I haven't purchased it yet.

It does and It's easily my least favourite cue in the score. It's so hyper and uses the raptor motif in a far less spooky and dangerous way - it's a very strange cue taken with the rest of the score. There are times when a cue goes unused for a reason.

They already managed to ruin Valinor and the Two Trees minutes into the first ep.

The CD is only going to be available as a sixth disc in a rerelease of that Concord box set. No other new material. $60. I'll still buy it.

By looking at the spectrum (that is, frequency content) of the recording and also quantization level analysis (that is, looking at the distribution of the amplitude levels of the audio samples). With the spectrum, if you have content sampled at CD quality (44,100 samples/second or 44.1 kHz) and you simply resampled it to 96 kHz, you're not actually gaining any new spectral content above 22.05 kHz (the peak of a 44.1 kHz sampled signal). The spectrum would show a brickwall dropoff at 22.05 kHz and either no content or noise between 22.05 kHz and 48 kHz. A recording originally made at 96 kHz, however, will not have the brickwall dropoff. And regarding the bit depth, if you take 16-bit data and simply convert it to 24-bit, you are not adding any detail to the recorded audio samples. You're simply multiplying the 16-bit values by 256, or in the digital sense, you're adding eight 0s to the 16-bit values. So when you look at the distribution of the amplitudes of the samples, you will see that they only appear in multiples of 256 (0, 256, -256, 512, -512, and so on). There are no samples in-between these values. But if you record at 24-bit originally, you will (likely) have samples with amplitudes at all different values at the full 24-bit resolution. Graphically, here is an example from the Qobuz offering of Intrada's 3-CD release of Inchon, reflecting 44.1 kHz content upsampled to 96 kHz and 16-bit data directly up-quantized to 24-bit (note: I've added vertical markers at 22.05 and 24 kHz to reflect the crossover points of content recorded at 44.1 and 48 kHz, respectively): And here is an example from the recent On Dangerous Ground re-recording from Intrada...

The 2nd disc will be wonderful for Sunday dinners.

Went to see this today at the Toronto Symphony Orchestra. The orchestra played so well throughout, it was a pure delight. It was great to hear different details come through the score than what I've heard on the OST or in the film recording. This was especially the case in the quieter moments, when I could hear, for example, the piano when BB-8 runs away from the battle at the start of the film, or the oboe solo when Maz tells Rey the people she's waiting for aren't coming back. Things like that really added more humanity to these scenes. Act One ended with the big statement of the First Order theme they use near the start of the film when we cut back to the First Order ships, and Act Two began with a very abbreviated form of the concert version of Rey's Theme. I think the best thing about this performance was that I got to hear the score louder than I've ever heard with the film before, as though with a better mix in a recorded film. And the live element, as I say, just gave it more humanity and warmth. Top notch performance. If you get the chance to go, it's really worth it!

This may be old news, but over at the FSM board, "TZfan01" posted a link to information about UCLA's "CBS Inc. film and television collection 1955-1991". A detailed PDF of the collection can be downloaded HERE (and is also attached to this post). From review of the PDF, specifically pages 49-58, there is a large number of "orchestral score" cues and cue sheets listed for The Reivers including source cues (all with "M" numbers but some with differing names than given above by @filmmusic). Additionally, the collection includes audio recordings ("open reel audio tape, 1/4 in.", "open reel audio tape"). cbs.pdf