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filmmusic last won the day on September 11 2014

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  1. Thanks for your reply Ludwig. Well, the thing is that I have Roman numerals in all the examples in my dissertation (there are around 340 examples), and I can't change it just for one example. I want to keep a continuity. I have mentioned in one instance that I will use invertion numerals only when needed. So, maybe I shouldn't use it here? I've also thought that it should really be 12 on top.. I'll see what I can do. Maybe I should use one of the later not inverted chords from that song in my example..hehe It's really used for the phrygian aspect of it.
  2. In this first instance it is inverted. I have the original score. So, would the numbers be correct?
  3. It's difficult now, because I haven't written it in Sibelius. The next 2 bars, is a plagal candence. i - iv - i. it's from the Look Down Lord song, by John Williams. edit: the chord in question is at 0.19-20:
  4. Hello. I'm stuck with the numbering in a chord, hope someone could help me. is it correct like I have written it? It's a bII with a 9th, in 2nd inversion.
  5. What has resolution got to do with the filmmakers' intentions?
  6. Well, there is an alternate main title music (not available in recording), that uses the exact same iteration of Tintin's theme as soon as the title appears, so I used this as the "original pure theme". of which we hear snippets here and there in the film. This "heroic" version (it states "heroically" in the sheets in both instances) sounds like having a too clear profile to be a metamorphosis of a main motif. At least to me.
  7. I think I'll disagree with this. Tintin has a regular 8-bar theme. 4.17-4.30
  8. Oh, Ok. It just seemed weird to me that you have the capability to play blurays, but still you buy DVDs.
  9. You have purchased some DVDs and 3 Blu-rays. Why eg. didn't you buy Cliffhanger Bluray, or Species Bluray etc.?
  10. Why aren't ALL blurays and you have purchased DVDs too?
  11. There is an interesting 1991 John Caps article ("John Williams: Scoring the Central line") that divides Williams' periods as follows: a) his jazz and comedy apprentiship beginning with Checkmate (1959) and ending with A Guide for the Married man (1967) b) apparent transition into serious scoring with the Reivers (1969) culminating in Jaws (1975) c) unprecedent reign as the most successful film composer in history from Star Wars (1977) to E.T. (1982) d) his gradual mellowing in later 1980s into a refined romanticism which was sentimental in Accidental Tourist (1988), peaceful and tempo-less like New Age dream in Always (1989), pianistic and ceremonial in Presumed Innocent (1990).
  12. I'd like to buy it but I'm waiting on a possible 4K scan...
  13. This is my favourite cue. the amount of layers and counterpoint is amazing...
  14. Let's hope they leak like War Horse. I'd love a complete Memoirs of a Geisha.
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