wanner251

I have to change mine... for the past couple of days it's been "Going to School" from Memoirs of a Geisha. Catchy as hell.

Very nicely written... This may sound a bit juvenile of me, but the track from the score that seems to be speaking to me the most is "Going to School". Granted, it's not as emotionally gripping as any of the rest, which I also appreciate. However, there is something about it that just works. It is a fine example of musical storytelling. Although, that may be just because it serves almost as a sort of "training montage".... without the montage.

I'd just like to say that I finally watched the film two nights ago. I don't like to listen to the score until I see the film because I don't want to experience it completely out of context. It's been a long time coming, but WOW what a score! The score is actually too good for the film... John really did his homework on that one. Captures the feel and traditions perfectly in my eyes.

Ah, indeed you are correct about the fortissimo... Gm it is... I'll look through the score more to see if I can find any instances of 7th on the bottom. I know it's in there somewhere because I hear it all the time.

I'm just glad that wretched Hobbit score wasn't nominated! Personally, I think in a weak film score year, Williams should just win by default.

Once we get to proper streaming abilities with gigabit fiber (or faster), we won't have to worry about these trivial talks of obsolescence. Hopefully by then, Hollywood will have figured out that once you own a copy of the film, you have the intellectual property in your possession, so they don't have toile you buy it again and again and again. When the quality gets better, it will just stream and look better. However, Hollywood will probably keep charging us, even when they finally have total control of their content.

Grumpy old man...

Jeez... somebody do something...

Upon looking at the score, it seems that the very beginning of that swelling phrase in the Trombones, there is a Bbm chord going to Em, and back to Bbm. The very first Bbm has a G# in the Tuba part. In that particular instance, it is just very short, and probably a bad example. But those kinds of chords are used throughout the film to depict the Nazis, of course, and in greater abundance.

I personally thought that Brave was great. Definitely not up to Pixar standards, but Cars 2 is something I wish I could erase from memory. The reason it happened was because of merchandising.

Actually, I thought it was quite fantastic, mostly in the sense that you don't see this kind of thing from Walt Disney Studios very much anymore. It's good to see that they really are starting to learn a few things from Pixar. La Luna, however, is extraordinary. I thought the score was ok. It reminded me too much of WALL-E though. Very Thomas Newman-esque, but I'm not sure it was completely relevant for the material or setting.

As for showers... one of the tunes I sing is actually kind of an elephant in the room. Upon further examination (in the context of this thread), I just realized that it is completely inappropriate.... Funny how a thread like this one made me think about it... I don't think I could bring myself to whistle it in the shower anymore now...

Okie dokie... First, without getting too technical, an octave is essentially the next note of the same letter either higher or lower. So, from E to the next E in either direction is an octave. Sometimes this can also mean any two notes that share the same letter. So, any two E's in any register when played together can represent an octave. In the case of Lumos, the melody is played on the celeste, but is also doubled an octave away. Same melody, same notes, just higher up. Synths have this ability to add this as an effect. So in Lumos, the right hand is playing the melody, and the effect adds it doubled an octave higher. Does that make sense? It just parallels what is being played, but higher. The thing was, it confused me into thinking that they decided to completely change what the celeste patch sounded like.

Is no one here familiar with the idea that Luke takes Yoda's role in starting up a new Jedi school, and Han and Leia give birth to twins, both of whom become Jedi? I'm not sure if they are both boys or a boy/girl set. Luke marries Mara Jade or something like that. One of the twins ends up killing her... I can't remember how it all fits together. But has no one heard of this?

I'm just kicking myself for not hearing that it was just octave doubling. That seems like something that would be easy to hear... These ears are getting older........ Yup... Octave doubling... but only in the right hand...

Seriously??? Funny, it's not written in the score that way... Guess they just decided to do it... although, the score does say next to the synth celeste part, and I quote, "(sounds loco)". Perhaps that's code for octave doubling....

Whenever I listen to the "When Dinosaurs Ruled the Earth" section on CD, I always sit hoping that I will hear the fat roar of the T-Rex. It certainly adds to the majesty of the whole thing.

Yes, with the opening of Bach's Toccata and Fugue in D minor, like he wrote for Dead Man's Chest....

Does anyone know what JW did for the very beginning of PoA, aka Lumos!? The celesta sounds so different there, almost music box-ish... I wonder what made him decide to change the sample...

But what about Indy's First Adventure?

YAY!! I'm in again for sure! WAIT!!! NOOOOOOO!!! I have a gig... grrrrrrrr....

Well put.... I find that The Adventures of Mutt shares quite a bit with Indy's First Adventure. My thoughts are that this would be on purpose. However, I don't like it nearly as much. And no, it sounds nothing like Hook, but what it does share with Hook is Williams' harkening back to the days of Korngold and Robin Hood.

I find Anakin's Theme to be so much more interesting, and fitting. But then I think, "Hmmm.... Across the Stars..... harp only...." That makes it for me...

That mock trailer is horrifying...... but so preparative......

War is brewing....