tedfud

very high quality for a fairlight . It was 8 bit and somewhat noisy..although by 85 a 16bit version was out. This was a real fav of post production studios...as was the syncvlavier which would have been my first guess . But by the 90's sampling was cheap. I was using the akai rack S1000 to fly in backing vocals all the time. It would be very simple just to map a bunch of effects cross the keyboard and play against the score. I suspect this was done post and not like jerry's scores with some dude hiding behind a mountain of jerry's favourite keyboards that month. t

ouch...missed that....must of zoned out...genesis documentary was on ..... t

minor second ? don't remember playing that !......... t

ah..I see... thank you t

nope...i want to add a harmony to each note using horn fifths. So i ( perhaps incorrectly ) thought any note could be harmonised with either ....f,a,c,.....those where my only choices....is that wrong ? unless i am misunderstanding what horn fifths are, and they are in fact, just the first three notes ? t

Hi just wanted to make sure I've got this right. In the harmony you are allowed ...root,third and fifth of the key . like this ? thanks t

The notes he gives for the first hexachord don't seem to be correct. I get Bb-D#-A-G-D#-C#. Even so, I'd understand both of these as extended uses of tonal materials. To my mind, the first hexachord is best understood as a version of the horn call that appears over the main theme's famous two-note ostinato. There, we had Eb-G-Bb-C#, basically an Eb7 chord. Here, we have that (written enharmonically) plus an extra A, which can be taken as passing between Bb and G, so the original Eb7 still remains strongly intact. And the Stravinskian polytonal feeling is still here too (as it was stated in the main theme) with the chord rubbing dissonantly against the bass note E. The second hexachord is an ostinato from the main theme that wavers between two triads: Eb major and A major. The tritone distance between these two creates a disturbingly unsettled feeling, as though the triads suggest there should be a tonic but obliterate any stability through their tritone relationship. In other words, either Eb or A could be taken as tonic, and as the music wavers between the two, so does our sense of tonic, making us feel as though there is no ground beneath our feet - an apt metaphor for being in the water as helpless prey. ok...so they are just re-use of already established material ( albeit with the odd additional interval ) rather than a parallel source of harmony ? t

no...this one is.....http://www.musicnewapproach.com/#!composition---a-new-approach/cgc7 t

Hello I'm my rather fab new book from Norman Ludwin on modern compositional techniques he cites an example from Jaws in the "Man against Beast" cue. In measure 5 there is a " hexachord of D,E#,F#,G,A,Bb in the Harp and Diminished string chords " And again in measure 22 their is a second Hex , C#,Eb,E,G,A,Bb . "used for eight measure and scored for harps and piano "...is there a chance these are just two set's rather than a six note set ? all the best t

superb...well done ! t

the Kostka book is " Materials and Techniques of Twentieth Century Music " ISBN 0-13-924077-2.......Well worth having . A good companion to Persichetti T

wonderful film.....great score t

or maybe the guy with the percussion made a noise too ? Thomas loves capturing the vibe !

i hear that as part o the percussion sound ....you mean the sort of breathy sound ?

well there's two sounds...A bell and some sort of ractchety percussion shaker gizzomoidthang......i'd say acoustik too ! t

Thanks Ludwig. Nice review, it really is a great book. t

wow...wonderful find. Thank you so much Ludwig t

This has always struck me as very like Herrmann, Williams, Goldsmith etc...more majors than minors. https://www.youtube.com/watch?v=fdyFe01NVU0 top stuff also good old nicolaj Andreyevich Rimsky-Korsakov was partial to the old root movement by 3rds back in 1881 https://www.youtube.com/watch?v=Bu4ssxtBj5Y t

its one pitch. Not much detuning either . Probably no more than 5 cents t

So you just want him to go on stage and hit a play button? Or did you expect him to conduct an orchestra like WIlliams? I'm confused as to what you were expecting. Conducting an orchestra would be nice. More to the point, I wish he wouldn't base the PR around all the 'special guests' he's bringing. I really don't care about those. But there would be no music without his ghostwriters. total nonsense ! t

was it a 2500 ?...thought he used a 2600 . Its just a couple of oscillators beating together ( sawtooth ) with the filter opening and closing just a little . The cutoff is set very low so all the top end is filtered. Steep slope too ..24db. Might just be a little white noise in there too for grit. Could well be a minimoog that he had . Not a tricky sound to get. Sounds like the very low frequenices have been shelved. At around 90 hz. t

Hi i know I've been here before but, can anyone spot the logic and history of a series of chords from "IVANHOE"....it's such a lovely sound. Basically a natural minor scale harmonised with chords one and two being minor...the rest major . It pops again in EL CID and BEN HUR...is this a Miklos invention ? so evocative T

ace....

awful news......i was lucky enough to meet him a couple of times....such a nice guy..to think he made so many people happy yet he was obviously in dreadful pain...Depression is a very serious business . t

Eno doesn't have anything like that kind of money ! t