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filmmusic

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Posts posted by filmmusic


  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. 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:

     


  3. 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?


  4. 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.


  5. 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).

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