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filmmusic

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Posts posted by filmmusic


  1. 12 minutes ago, Ludwig said:

     

    Could you post the next bar, even if it's in a different phrase? It's hard to analyze harmony without the full context (as Disco Stu's example from that Piston quartet that turned out to be, fooling us all since it was actually quartal).

    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:

     


  2. 2 minutes ago, Naïve Old Fart said:

    Here's a question:

    I've been watching bits and pieces, on this "interweb" thingy (it really is good, you should try it, sometime), about Blu vs. 4K Blu. That's all very well, but...without the supervision of either the director, or the cinematographer - or, preferably both -  how do we know which version is closest to what was originally intended?

    What has resolution got to do with the filmmakers' intentions?


  3. 34 minutes ago, Falstaft said:

    That statement you've linked to is quite exceptional, the only "extended" iteration of the Tintin main motif in the score,

    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.


  4. 22 minutes ago, Thor said:

    I love how many of you group 1959-1975 as simply his "early years". That period has SO many different aspects and sub periods and evolutions; perhaps more than any other in his musical life.

    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).


  5. I'd like to make a citation on these words here:

     

    'I can see you have a great deal of water in your personality. Water never waits. It changes shape and flows around things, and finds the secret paths no one else has thought about -- the tiny hole through the roof or the bottom of the box. There's no doubt it's the most versatile of the five elements. It can wash away earth; it can put out fire; it can wear a piece of metal down and sweep it away. Even wood, which is its natural complement, can't survive without being nurtured by water. And yet, you haven't drawn on those strengths in living your life, have you?'(125)
     

    So, I'd really appreciate it if someone has the book and can tell me in which page this appears, as well the publisher, and the place and year of publication of the book he/she has.

     

     

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