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Everything posted by ChrisAfonso

  1. Finally got this CD! After my initial euphoria about its release was tempered a lot by the reported issues, I kept holding out hoping for a corrected pressing, but I guess that will remain futile for the forseeable future, so the release of Aladdin was as good an opportunity as any to order it at last (and save a bit on shipping costs). Enough has been posted here about the shortcomings of the release, so I won't dwell on that here. But the expanded score is a joy to listen to! (Just the prepending of score tracks at the beginning of several songs is a headscratcher...) And I really enjoy the multiple stages of demo tracks (piano demo + synth demo), which, as in several previous LC releases, allow a great glimpse behind the process of creation - especially regarding later replaced/refined sections of familiar songs!
  2. Those two go really well together, actually: Akallabeth combined themes ending.mp3 (thanks for the idea ;))
  3. Nice to hear it's been useful, though As much as I still love the original LotR scores, by creating a myriad of very rudimentary motifs, Shore definitely made it very easy to now find them everywhere, intended or not . But put it this way: Not every repeated minor second is a quote from Jaws, but if it's played by the bass and you see a fish on screen, you might be on to something. For now I'm enjoying a lot of the RoP score, although for my taste the themes could have been introduced more gradually and less fully-formed - but who knows, for all we know there are still things tucked away in there that come to bloom later
  4. This was mentioned by a member of the LSO in one of the "Legacy of John Williams" episodes. "John has a horror of takedowns, so he prepares the Signature Editions to make sure the real music is available" or something like that I have the impression that a lot of different things get thrown together here (quotes as examples). No one (usually) *does* care about *performed* transcriptions (as audio) on youtube. Releasing (paid) "covers" (as audio) of officially released tracks is (afaik) covered (:P) by a "compulsory" license (-> the copyright holder can't prevent it, but gets a mandatory royalty). For live performance you need to pay the composer's performance rights organization, in addition to buying or renting (often for a hefty fee) the official materials (I'm unsure if they can prevent a performance based on an "accurate" transcription? This may fall in a similar case as aforementioned straight *covers* are generally allowed, but "derivative works" like medleys, mashups, lyrics changes etc. need an explicit individual license). Sharing (for free) self-made arrangements informally seems to be some kind of a gray area (as long as it's not on a large scale) (?) *Selling* unauthorized arrangements (as sheet music) is the crucial case here - and I was generally under the impression that, at least until a few years ago, this was not allowed at all without individually requesting and getting a license (like Marc P. back in the day describing unsuccessfully trying to get his awesome JW horn medleys published). But on that point I do agree that the composer/publisher are fully in their rights to control/allow/disallow others from profiting off their work (without compensation) as they see fit. Regarding the recent "blanket license" some online sheet retailers seem to have for publishing arrangements - when I looked into the conditions for sheetmusicplus's service (something like 2 years ago), they indeed had a long list/database of tracks from all kinds of composers that they have an automatic royalty sharing deal with (and note, the deal is: you get 10%, the authors get the rest!). Bear McCreary, for example, was in there, among many others I searched - John Williams, though, was not. (disclaimer: I have read a lot about these topics, but am not in any way certain any of this is actually correct )
  5. I'm also no expert on this and post/tax/customs matters can (in my experience) be very hit and miss, but as far as I understand, the receiver has to pay the import tax, UNLESS the sender already paid it - which should be the case with big online retailers (aka Disney (?)) more than small shops (specialty labels etc.). But it's always a gamble...
  6. This is of course most likely a complete coincidence, but the motif at 0:46 in the posted clip bears a striking resemblance to the beginning of Bear's Númenor theme: --- I really don't understand this "wacky pub dance" or "hobbit music" comment regarding Durin's theme. It sounds much more like a baroque court dance, which given his noble status is quite fitting. Just because Shore used the "um-pa-pa-(rest)" accompaniment for hobbits doesn't make it a hobbit rhythm for all eternity
  7. Not to forget that the String counterpoint itself Starts Off as a Variation of Han's Theme!
  8. "Siegfried" would like a word with you (Great example from Meistersinger, though) There's a nice talk by Leonard Bernstein on the Topic:
  9. Well, combing endless shelves of moderately-sorted media in cramped basements makes one hungry... Great to hear it's going again, that store always was one of the fixed points of each "recent" London trip (along with Forbidden Planet, and tkts for some bargain hunting). Hopefully again soon.
  10. I finally got to watch 1917 recently, and this cue/scene left a lasting impression... Mainly did it as a (notation) transcription exercise, but I also tried to create a passable mockup.
  11. I have no idea if there is an actual JW orchestral version of it, but a piano version of that exact cue is in the 1991 "John Williams Anthology" sheet music album.
  12. First of all, great to see more expanded/complete(?) Star Wars scores released! Here's hoping for more, in the proper format. I have mixed feelings about this score, for various reasons... The inconsistency of Giacchino applying the Williams template (for me) is nicely demonstrated by these two contrasting passages: (1:30 - 1:38) The strings are very busy here creating a ramp-up of tension, but somehow the actual notes sound kind of random to me, and in the end it lands in exactly the same harmonic place as it started, making it feel kind of static. Compare this: (0:41 - 0:51) Here, the climbing string lines have an actual purpose and reach a new target at the end, modulating to a new key (twice!) - nicely adapting the sound of ANH's Imperial Attack escape sequence. I actually really like the climactic combination of Vader's theme and Death Star motif.
  13. There's hardly another JW score that has risen from the "hardly ever listen" pile to the inner circle of my all-time favorites as much as this one -- admittedly, it took finally watching the (superb) movie to provide the context needed for me to fully appreciate the diverse kinds of music (sentimental, harrowing, or over-the-top) and their place in the narrative. Where before I found the exuberance in the prominent concert setpieces hard-to-stomach clichés, their innocent naiveté now moves me to tears. Highly recommended to anyone who doesn't have it yet!
  14. I think it says "Record (...)". The cue is 9m2 "The T-Rex Chase". Above his finger you can make out "Ripples", the 2nd and 3rd staves contain the signature ripple-like deep woods figure, and at the start of the bottom half of the page you can see the frantic flute shrieks starting that come in when the rex appears. This is a fascinating picture - an intimate peek into the magic book!
  15. That sounds great! But the horn line seems to be a fifth too high?
  16. Obligatory mention: And the Björk song is co-written by David Arnold, so no surprise there
  17. Just saw the film yesterday. Originally, when it was announced, I was indifferent to the concept (and in the "sure go ahead, but why remake a classic?" crowd). Approaching the release, I got a bit more excited about a new take on the material, especially after the reviews started coming out overwhelmingly positive. But I was not prepared how much a story (and score!) I know very well for a long time, would keep me anchored in my seat gripping the armrests, and needing quite some time to collect myself afterwards. A real masterpiece with quite a number of really inspired choices for a new perspective on the material that work really well (standout: "Cool"). The sheer visceral quality of the filmmaking is amazing (and a real departure from the '61 film, as far as I remember it). I get Karol's view that the raw realism and the heightened musical drama sometimes don't completely mesh successfully (and occasionally thought so myself during the film), but IMHO that's a very minor point of concern - both the "movie" and the "musical" work so well, that it immediately pulled me back in each time I got momentarily tripped up by the contrast.
  18. Great book, Chris! This score had a significant place in my discovery of film music, being one of the first non-Williams soundtracks I got. Awesome to have the full score to study. Already the first cursory thumb-through yields lots of interesting details to discover (alphorn, wtf :D). Reading along with the recording, there seem to be a number of podium changes that are not reflected in the score (like the horns in Firestorm, bars 25-26) - do you have any insights on that?
  19. Very nice! I didn't know about this score at all until the video below, and afterwards was wondering how to get a hold of a copy.
  20. Though it does go against the copypaste-principle, I can't hold this instance against him - while it starts as a direct lift, he continues the cue in a different way and leads into this glorious brass finish (and as both scores involve aliens, a case could be made for topical appropriateness)
  21. I'd guess it's this one - I remembered her telling the story in the 2020 "May the Fourth" Hangout, and it sounds close: So she just got her Astronauts mixed up
  22. Thanks again Maurizio and Tim (and Sarah) for this very entertaining and enlightening interview! I was a bit confused about her comment about the E.T. horn part not having the "Bells up!" in it, as I remember it being in the Signature edition score - turns out, while it's in the "Adventures on Earth" S.E., it's missing in the otherwise identical ending in the "Flying Theme" S.E. (which was performed in Berlin)...
  23. Very possible, but I'd throw in that this may differ a lot based on where you are - e.g. in my surroundings, the WSS film was at least as well known as SoM, if not more.
  24. I hate to be this type of guy, but The Sound of Music isn't a Hollywood musical, but Broadway musical theatre first
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