Smeltington

A shapeshifter isn't where you'd want to explore the idea of having a flexible identity? I kind of figured the whole point of this mutant (hell, superhero in general) thing is that your power informed your character. So does it heavily rewrite a character by making that a part of them? I would understand it if this were Mystique, who is much more established in media, but Morph is a separate character with a similar ability, so you probably would want to distinguish them more.
 
Plus, the Fox run already wasn't above considerably rewriting characters depending on the series/film, so I've been used to different iterations of certain mutants. I understand not wanting to push it to the point someone is neigh unidentifiable, but nothing is suggesting a considerably altered personality so far.

Four recordings in five years!  Man, that is super.   

Send up the @Chen G. signal!
 

While not on my top 10, I listened to Lincoln yesterday.  What a fantastic score from start to finish.  Every track has something new to offer and the penultimate track is mind-blowingly good.  I would say it is his best "Americana" score--that would be a good poll on its own.  

It should be printed and shot out as confetti after the 1812 Overture at Tanglewood this summer.

Hi everyone,
 
I'm Jay Lee, a video game music composer, and also the author of the Behind the Score series.
 
I've been reading and taking an interest in this forum for quite a while (perhaps more than 10 years), but this is my first time writing here! I, along with my great colleagues, recently wrote a short rhythmic analysis of John Williams' music and wanted to share it here.
 
These are two-part articles, both examining perhaps the most famous  John Williams' works and delving into some of his rhythmic approaches in composition. Some are as simple as using odd time signatures, while others include more advanced concepts such as rhythmic accent displacement and polyrhythms. 
 
As composers (and a musicologist at the same time), our observations may differ from others' perspectives. With that said, we simply hope that this analysis brings joy to John Williams fans who read it. 
Below is our posting. Enjoy!
 
Edit: For some reason, a few of the audio clips on this posting can't be added here. You can read a full article with a playable audio clip here.
============================================================================
Exploring Rhythm in John Williams' Music (Pt.2 - Accent Displacement)
Continuing from Part 1 of the series, we will explore additional intriguing rhythmic techniques showcased in the music of John Williams. In Part 1, we explored how John Williams incorporated time signature changes in his music. Now, let's shift our focus to his use of accent displacement techniques. We will present a variety of musical examples that highlight this technique's application, accompanied by mockup examples. Get ready to have some fun!
 
Notes:
- Due to copyright issues, all audio and scores displayed on this page are alternative versions or recreations of the original content.
- In this post, we have chosen to omit some of the instruments from the score to place a greater emphasis on the rhythmic aspect of the music.
  What is an Accent Displacement?
Accent displacement is the technique of changing rhythmic stress in music by introducing artificial rhythmic accents against the natural pulse of the music. When listening to music, you may naturally tap your feet to the rhythm, but you may also notice moments where you feel sudden shifts in downbeats and accents not falling together (such as in Salsa music). The change may be less obvious when compared to a time change or a metric modulation, but nevertheless, it affects the listener’s perception of the rhythm.
Accent displacement, in a broader sense, is identical to switching time signature, as a composer may ignore the original strong and weak pulses between the measures to diverge from the rhythm. Despite this fact, accent displacement is different in that the resulting rhythmic shift is temporary, and in most cases, any time-related markings are not notated on the score. In contrast to both time signature changes and metric modulation (which actually change the meter or tempo in the music), accent displacement only affects the groove and rhythmic continuity while keeping the original tempo and time.
Throughout many compositional works of John Williams, especially in his works for the soundtracks of the Harry Potter series, the technique was used excessively, making his music sound more rhythmically appealing and less predictable.
   
  Example (A) - “Aunt Marge's Waltz,” from Harry Potter and the Prisoner of Azkaban (2004)

MM. 1-5
MM. 6-11
MM. 12-17     Ex. A is a 3/4 Waltz exhibiting a conventional "Strong-weak-weak" triple meter pulse. The song breaks free from the 3-beat flow in measures 8-9 and 14-15 by fitting three 2/4 phrases into two 3/4 measures. Notice the different placement of notes in the lower register instruments (Ex. Vc, Cb, Low Brass) in measures 8-9 and 14-15. In measures 8-9, to intentionally disrupt the triple meter pulse, Vc, Cb, and Low Brass play a quarter note on the 2nd beat instead of the first. Conversely, in measures 14-15, even though the melody was phrased in 2/4 in the same way as measures 8-9, Vc, Cb, and Low Brass stress the first beat of each measure to reconnect with the song's regular triple meter rhythm, continuing from measure 16. Our score reduction with visible 2/4 time signature notation can be seen in Fig. A.
Fig. A – Score reduction with visible 2/4 time signature   Example (B) - “Hedwig's theme,” from Harry Potter and the Sorcerer’s Stone (2001) (Orchestral Reduction)
MM. 1-3 MM. 4-5 MM. 6-7     Measure 4:
In measure 4 of Ex. (B), the Violin stresses the 3rd eighth note of the third triplet (Ⓐ). Since the music previously had accents on the 1st and 3rd downbeats, this sudden upbeat accent subverts the rhythmic flow of the song.
Measure 5:
On the 2nd beat (Ⓑ) of measure 5, two triplets in the Violins and Woodwinds are slurred together with staccato, to be performed on the second notes of each triplet. As a result of the slurs and staccatos, the phrase now has to be played with multiple bows (or breaths), dividing the two triplets into 3 rhythmic stresses.
  Example (C) - “Witches, Wands and Wizards,” from Harry Potter and the Prisoner of Azkaban (2004)
MM. 1-7 MM. 8-13 MM. 14-17     Ex. (C) is an excerpt of the first 17 measures of the music, but the whole piece is well worth studying as it displays a masterful use of rhythm.
Measures 5-7:
The song is set in 3/4 time, but by placing accented dotted quarter notes across the barlines between measures 5 and 7 in the brass, the piece sounds as if it's temporarily escaping from 3/4. In this particular section, with the brass and high strings at the focal point of the music, the displaced accents help to add more confusion to the rhythm. The rest of the instruments play in a regular 3/4 rhythm.
Fig. B presents a new interpretation of the score with displaced rhythmic accents (the mock-up contains only brass & timpani without any other instruments).
Fig. B     Measures 13-17:
In measures 13 and 14, while the woodwinds emphasize the downbeats with rhythmic stress, the high brass play consecutive offbeat quarter note figures to add tension until the final upbeat of measure 14. The time change in measure 15 also assists in breaking away from the regular 3/4 rhythm by dividing a one-measure phrase into two separately accented 3/8 measures. (Refer to Fig. C for the 3/4 notation of the merged measures 15 and 16).
Fig. C - Measures 15&16 from the original score notated in 3/4    

Reading through the thread, my theory is that what Mattris calls 'enlightenment' is the result of smoking some pretty strong stuff to cope with the incomprehension at why the ST was so bad.
 
Companies spend a fortune on anti-drug PSAs, hiring people like Michael Jordan, when they could save money and just link to this thread instead 😂

Monsignor reissue!
Disc 1: OST master
Disc 2: 2019 film score assembly
Disc 3: 2019 Intrada disc with the OST and score
Disc 4: film score assembly remastered
Disc 5: OST rebuilt from the remastered film source
Disc 6: replica of the 2019 disc but from the remastered sources

I'm going to see this next Saturday, first time for me to see a HP film LTP, so excited!
 

 

I can't find any articles that mention it, but discussion of it starts here:
https://www.jwfan.com/forums/index.php?/topic/28858-across-the-stars-williams-mutter-collaboration-album/&do=findComment&comment=1550380
 
Fal posted a video the same day on the next page, but now it's gone. Anyway that was my source for the info.

i'll take ALL of these types of effects in a film over a 20 minute de-aging CGI puke fest that literally serves as nothing besides fan-service.
 

It might just be people from JWFan. But we have so much knowledge, and it's spread out all across this forum... a wiki would be such a good home for it!

Very rarely does the craft services budget come into play onscreen, but everyone here looks well-nourished.

Yep, fortunately I was later able to snag one!
 
By the way, there appear to be a few (rather pricey -- $500) tickets on sale right now on the official website. Just FYI in case anyone is still looking.

It might just be people from JWFan. But we have so much knowledge, and it's spread out all across this forum... a wiki would be such a good home for it!

As far as I remember, one revised version of Across the Stars was performed as an encore at the premiere of Violin Concerto No. 2 in Tanglewood.

It might just be people from JWFan. But we have so much knowledge, and it's spread out all across this forum... a wiki would be such a good home for it!

It might just be people from JWFan. But we have so much knowledge, and it's spread out all across this forum... a wiki would be such a good home for it!

I really had high hopes for Scorepedia. I hope this one will take off. So many people have been kind enough to share valuable content on this forum... the sum total knowledge on here is massive, and much of it is obscure and difficult if not impossible to find anywhere else. But unfortunately, it's often hard to find the info here too, given that it's spread out across years' worth of forum posts. I think a wiki format would be an extremely handy reference, if we were able to start sharing info over there.
 
I wonder if any of our Scorepedia articles still exist somewhere, to be ported in? I remember the Chamber of Secrets score was my pet project over there, it would be cool to see that page resurrected, along with all the rest of the content others contributed.

My children are going to call it “The Baby Yoda Movie,” no joke. They’ve never seen the show, of course, but my kindergartner has Baby Yoda pajamas and a Baby Yoda stuffed animal. She WILL be bummed she can’t see the movie. Darn it!

Yeah, this is a bad move, to me. After burning out on Star Wars, I decided, well, I’ll skip the shows but come back for the movies. Even a bad Star War has got to be worth taking in once, in the theater.
 
But now I gotta question it. The Filoniverse requires a big buy-in. So I dunno.

Me: I want the Hook release! I even love Banning Back Home!
 
Mom: we have Banning back home.
 
Banning back home: