wanner251

No CD, no lossless.... this is bullshit. I always thought that technology was supposed to get better... Apparently music is still stuck in the 1980s as far as digital quality goes. It's a shame.

To all fellow composers!

Does that mean we can submit scores, and the judges will be using the most complex DAW of them all, their brains?

Just keep the pencil moving! I demand KK to disqualify anyone daring to use programmes with coloured bars in them to compose for this competition. Notes, black dots on white sheet music, that's the way to go!

What is all this nonsense? In my world there are only three Potter films. 1-3, to be more specific.

Johnny is wily and puts forth these things for himself to score.

One of my favorites got the most extensive treatment in "Death of Tophorn" from War Horse. The descending figure (that repeats a note before each fall) is a perfect embodiement of a vein struggle for survival. It's been used in quite a few JW scores.
at 0:54
https://www.youtube.com/watch?v=L7Ol8it2Fcs

I ONLY want the first 3 scores. I DON'T want to pay 200$ for an 8 film disk set

I hope this is true. Complete scores for the first three are essential. I'd buy a boxset of all 8 but as long as I get the first three I don't mind too much.

The LP owns them all!

The haircut of Mark Hamill still date the original Trilogy also.

They obviously cloned him and gave him more midichlorians so he became Yodhulk! Or we find out that you should never get him wet or feed him after midnight or he'll turn into a giant angry green monster!

iTunes can be notoriously bad at fixing "glitches"...they've had stuff stay on there for months and even years that was substandard or defective, even after countless complaints. My guess is that if that whatever is wrong with this release isn't fixed right away it wont be for some time...if ever.
In any event, I'll wait for a lossless release, which I'm sure will come eventually. It's not that I can tell the difference between 256 AAC and lossless (like the vast majority of the population, I can't), but I just don't like paying for lossy music on principle. And it's not as if I've been losing sleep over not having these tracks anyway.

When I saw Williams at the Bowl last year, he performed that entire finale to the film onscreen.

I wonder why neither John nor anyone else never ever have Parade of the Slave Children on the program. Such a rousing, crowd pleasing piece, perfect concert fair.

WOW! John is open and wanting to compose the new Star Wars films?! What great news! A few things:

- Star Wars would be dead to me without Williams. Sure, I'd watch them eventually... but... they'd be dead. Williams' music is the lifeblood of the series. The heart and soul. Without Williams, then what we know to be Empire Strikes Back, Return of the Jedi, and the prequels would not have existed. Star Wars would have come and gone, forgotten outside of a few small pockets of avid sci-fi cult classic followers (aka virginal nerds in their forties playing dress-up). Without Williams' music, the first two prequels would have been almost completely horrid trash outside of a good lightsaber fight in I and seeing Padme in a tight suit in II, and the relentless latter half of Revenge of the Sith would have been far less impactful and moving. I am one who enjoyed the prequel scores as much as the original Trilogy scores. All six are masterpieces to me. To consider another composer with Williams alive and willing to do them would be blasphemous. I never was a big Harry Potter fan, but I stopped watching the Potter movies after Williams stopped composing for them. I may get around to them some day, but I lost a great deal of interest. Sure, some other composer could come in and do an adequate job - but Star wars would eventually become as meaningless as any other multi-film franchise that has multiple writers, directors, composers and stars. Just another movie series.
- Uni?! Is that you? I haven't seen that name in ages! How great to see!
- Wait... wha?! Since when did rude-@$$, ignorant-@$$ anti-Williams posters take over this board? They can't be trolls, because they aren't very funny or clever. Or is it just being an ignorant dick attempting to be "postmodern" funny? Hmm. Oh well... my interest has come and gone with that.

"Free Chromaticism" is actually a much more accurate term than anything essentially aiming at looking at Williams' tonalities in a strictly modal perspective, or from the perspective of functional harmony. Simply because Williams almost never writes exclusively modal, nor is his music harmonically "functional" in any traditional sense.
In other words, one might be "missing the point" in any attempt to find the logic behind Williams' melodic and harmonic constructs. At least if the point is understanding how Williams actually constructs these passages.
Yes, we must have a complete and thorough understanding of modalities and functional harmony (and a whole host of other things), but the real reason why this information is helpful, is so we can observe how -in this case- Williams doesn't adhere to them, doesn't abide by them. The truth of the matter, is that this knowledge (and a great deal more!) becomes internalized as a myriad of sonic options, and gradually, through our experience writing and writing and writing, forms a language that gives us the freedom to shape music naturally and freely. This is how Williams' technique evolved, and it is how we all can evolve as practitioners of the craft of writing (and analyzing!) music.

I love Clue, the movie and the score!

Confirming there's no way he wrote a second of CoS


Well, at least Selma Hayak is not giving out the best score award. She's bad luck to Williams
Jurassic Park music

I'm not sure how helpful it is to analyse the passage in question in light of a lydian modality. The passage is not truly lydian, nor is it truly a case of modal writing. Rather, like so often with Williams, it is a matter of shifting freely (and often!) between various "modalities" -in
fact, so freely and frequently, it is probably more accurate to describe it as "free chromaticism" (in a tonal context).
Actually, this is true of all the examples in this
thread so far.

I just played a gig last night in the Palm Desert with a bass player who was friends with Angela Morley... I asked her if there were any books that had been written about her. She said no because Angela liked to remain very much behind the scenes. But this person said that she was interested in writing a book herself, since she knows a lot of Angela's friends. I see this person a few times per year, so if any of this materializes, I'll keep people posted here.

Fawkes the Phoenix....

http://www.youtube.com/watch?v=yWihpHCVXug

I actually think Giacchino's a great composer. But I don't think he's as great at channeling Williams as people like to make him out to be.
And as you said, this is Star Wars. Frankly, I don't give a damn about the film. But the music is such a huge part of the franchise and of film culture. They do make like half the original films. And personally, I don't think Giacchino's sound is quite right for that world.
I want some of the guys with a bigger sound and quite capable of writing great orchestral music.
And I know I keep rubbing his name in...

...but hey, one can dream!
If James Newton Howard wrote stuff like "The Great Eatlon" or his great work for some of his older animated films (ex. Dinosaur), he'd be a phenomenal choice. But he doesn't quite write like that as much.