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Datameister

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  1. Like
    Datameister got a reaction from Bayesian in Does JW favor certain keys?   
    Not that I've noticed, though it'd be interesting to crunch the numbers.
     
    I suppose his marches and fanfares do tend toward C, Bb, Eb, F, or G, but those tendencies certainly aren't unique to JW.
  2. Like
    Datameister got a reaction from Fabulin in Does JW favor certain keys?   
    Not that I've noticed, though it'd be interesting to crunch the numbers.
     
    I suppose his marches and fanfares do tend toward C, Bb, Eb, F, or G, but those tendencies certainly aren't unique to JW.
  3. Haha
    Datameister reacted to Ludwig in Does JW favor certain keys?   
    I would say that Williams tends not to associate certain keys with certain moods. The idea of composers using certain keys for certain moods derived from the days when the 12-note chromatic system was not equally tempered, meaning that the same interval wasn't always exactly the same size. So each key did sound different and many tended to have common associations among composers. When equal temperament became the norm in the 19th century, those associations became more of a relic from the past and weren't used nearly as often. Beethoven was kind of the last big exponent of the idea, and it's not surprising that he spanned the end of the 18th and beginning of the 19th centuries.
     
    Anyway, with Williams, I don't see really strong connections between key and mood, but there are a couple of exceptions. Sometimes in his classic scores, it seems that he uses C major when there is a kind of purity in the character the theme represents in the theme's most prominent statement (main title / end credits): Superman fanfare and march (pure good), E.T. and Elliott (childhood innocence), Yoda (pure wisdom). This association of C major with purity is very traditional and mostly comes from C major having no sharps or flats in its key signature, so looks "pure" on the page. Other times, though, it just seems like C major is a convenient key to write in for Williams, like with the Raiders March.
     
    Williams also sometimes follows the 19th-century convention of using keys with lots of flats for slow, romantic pieces in major keys. This happens in Han Solo and the Princess, and Luke and Leia, both of which are in D-flat major, which has a whopping 5 flats in its key signature. The many flats are supposed to represent a very relaxed state in a musical way (whereas lots of sharps in a key signature are often associated with lots of energy).
     
    These are pretty much exceptions, though. Personally, I feel that Williams' choice of key for a theme probably depends on how he's going to orchestrate it. The use of B-flat major for the Star Wars main title not only allows the connection to the Fox fanfare that preceded it in the same key, but also the high B-flat in the trumpet, which is right near the very top of the instrument's range, as the theme's highest note. Or why the Jaws ostinato is on E - that's generally the lowest note in the double bass, so will be the darkest string colour he can achieve.
     
    The more I study Williams' writing, the more I find that his ideas seem very tied to orchestration, so that's why I'd lean more towards "not really" in answering your question despite the exceptions above.
  4. Thanks
    Datameister reacted to MikeH in Harry Potter 7CD Collection - MUSIC discussion   
    https://www.orchestraltools.com/store/magazine/view/33
     
    Richard Harvey talks playing the “Window to the Past” solo during the Azkaban sessions. 
  5. Haha
    Datameister got a reaction from Pieter Boelen in John Williams cameo in The Rise of Skywalker   
    That name! 
  6. Like
    Datameister got a reaction from Omen II in John Williams YouTube tributes thread   
  7. Like
  8. Like
    Datameister got a reaction from A. A. Ron in Who would be your (Non-Williams) choice for scoring Indiana Jones 5   
    I'd be curious to hear JNH's take on the material, particularly if he were really encouraged to embrace the old-school cinematically symphonic sound that Williams emulated for the series.
  9. Like
    Datameister got a reaction from Josh500 in Did you get the Disaster Movie Soundtrack Collection from John Williams?   
    Yep - I didn't own any of them before. It was a pretty easy choice. Fun scores!
  10. Like
    Datameister got a reaction from Pieter Boelen in Who would be your (Non-Williams) choice for scoring Indiana Jones 5   
    I'd be curious to hear JNH's take on the material, particularly if he were really encouraged to embrace the old-school cinematically symphonic sound that Williams emulated for the series.
  11. Like
    Datameister got a reaction from Manakin Skywalker in Remasters of the First 6 Star Wars Soundtracks now available (Shawn Murphy / Disney Records 2018)   
    ESB is more salvageable. You can get it to a very listenable state by artificially widening the stereo field, adding a touch of reverb, and adjusting the EQ a bit. ROTJ is what is...those higher frequencies are just gone, full stop. Nothing you can do to unmuffle that album.
  12. Thanks
    Datameister got a reaction from Holko in Remasters of the First 6 Star Wars Soundtracks now available (Shawn Murphy / Disney Records 2018)   
    ESB is more salvageable. You can get it to a very listenable state by artificially widening the stereo field, adding a touch of reverb, and adjusting the EQ a bit. ROTJ is what is...those higher frequencies are just gone, full stop. Nothing you can do to unmuffle that album.
  13. Like
    Datameister got a reaction from A Ghost From Highwood in How many times have you listened to the track The Rise of Skywalker?   
    You guys don't hear it? Don't get me wrong, it sounds like it was written by Williams, and I certainly didn't intend to accuse him of lifting material from Giacchino, but I hear some definite similarities in the approach. I'm talking about pieces like "Labor of Love", "Your Father Would Be Proud", "Parting Words", etc. You've got 4/4 meter with chord changes at the start of each measure...heavy reliance on simple, steady quarter note rhythms in the melody, often ending phrases with longer notes...overall major tonality with strategically placed minor chords to add emotional richness or bittersweetness... (I didn't fully think through all those exact similarities till now; it was just a "feel" thing, but I think it stands up to objective analysis.)
  14. Like
    Datameister got a reaction from A Ghost From Highwood in How many times have you listened to the track The Rise of Skywalker?   
    Twice so far for me...I was late to the TROS game, and I tend to space out my listens anyway. I quite like this theme and I think it serves the film well. It hasn't captivated me the way it has for some of you, but I do think it has a rather Giacchino-esque beauty.
  15. Like
    Datameister got a reaction from Tydirium in What Is The Last Score You Listened To?   
    The expanded Sky Captain and the World of Tomorrow. Wow, it really helps to have some more of the quiet underscore in here...the OST is fun but it can be a little much as it rushes from one full-blast action cue to another. I like this presentation a lot better - all the best music was on the OST, but this album gives more time to breathe between those moments. Very glad I finally bought this!
  16. Like
    Datameister got a reaction from Not Mr. Big in How many times have you listened to the track The Rise of Skywalker?   
    You guys don't hear it? Don't get me wrong, it sounds like it was written by Williams, and I certainly didn't intend to accuse him of lifting material from Giacchino, but I hear some definite similarities in the approach. I'm talking about pieces like "Labor of Love", "Your Father Would Be Proud", "Parting Words", etc. You've got 4/4 meter with chord changes at the start of each measure...heavy reliance on simple, steady quarter note rhythms in the melody, often ending phrases with longer notes...overall major tonality with strategically placed minor chords to add emotional richness or bittersweetness... (I didn't fully think through all those exact similarities till now; it was just a "feel" thing, but I think it stands up to objective analysis.)
  17. Thanks
    Datameister got a reaction from Brundlefly in Now that we have the Complete JP from LLL, is the 20th anniversary JP completely redundant?   
    There are elements of the JP OST that I really like, but the way the end of the film is handled really ruins it for me. I loooooove going from the triumphant conclusion of T-Rex to the Rescue to the peaceful piano solo that eventually leads to the full end credits. It's such a perfect way to wrap up the score; I can't fathom why they didn't take that route for the original album.
  18. Like
    Datameister got a reaction from Smaug the iron in Now that we have the Complete JP from LLL, is the 20th anniversary JP completely redundant?   
    There are elements of the JP OST that I really like, but the way the end of the film is handled really ruins it for me. I loooooove going from the triumphant conclusion of T-Rex to the Rescue to the peaceful piano solo that eventually leads to the full end credits. It's such a perfect way to wrap up the score; I can't fathom why they didn't take that route for the original album.
  19. Like
    Datameister got a reaction from Tydirium in Now that we have the Complete JP from LLL, is the 20th anniversary JP completely redundant?   
    There are elements of the JP OST that I really like, but the way the end of the film is handled really ruins it for me. I loooooove going from the triumphant conclusion of T-Rex to the Rescue to the peaceful piano solo that eventually leads to the full end credits. It's such a perfect way to wrap up the score; I can't fathom why they didn't take that route for the original album.
  20. Like
    Datameister got a reaction from The Five Tones in Is there any significance to the first chord of the Ark theme?   
    All good points in general, but I'm not really seeing the connection to this passage in particular. The Ark theme doesn't use the sort of harmonic language and instrumentation that you normally get with the type of music you're talking about. If anything, it's always struck me as a uniquely Western musical in-joke, using the so-called "devil's interval" to represent the Judeo-Christian God. For what you're talking about, I'd look more at the music for the arrival in Cairo or for the swordsman in the marketplace.
     
    @First TROS March Accolyte, you're not imagining the similarity between these. It's a B minor chord - just below the C minor chord heard in "The Map Room: Dawn" - and it's voiced very similarly. I'm guessing it's unintentional, born of Williams' familiarity with a wide range of orchestral works and there only being so many notes and so many instruments to work with.
  21. Like
    Datameister got a reaction from Fabulin in Is there any significance to the first chord of the Ark theme?   
    All good points in general, but I'm not really seeing the connection to this passage in particular. The Ark theme doesn't use the sort of harmonic language and instrumentation that you normally get with the type of music you're talking about. If anything, it's always struck me as a uniquely Western musical in-joke, using the so-called "devil's interval" to represent the Judeo-Christian God. For what you're talking about, I'd look more at the music for the arrival in Cairo or for the swordsman in the marketplace.
     
    @First TROS March Accolyte, you're not imagining the similarity between these. It's a B minor chord - just below the C minor chord heard in "The Map Room: Dawn" - and it's voiced very similarly. I'm guessing it's unintentional, born of Williams' familiarity with a wide range of orchestral works and there only being so many notes and so many instruments to work with.
  22. Like
    Datameister got a reaction from TSMefford in Harry Potter 7CD Collection - MUSIC discussion   
    I've never even picked up the DH2 soundtrack because of how much it underwhelms me in the film, @redishere, but the DH1 soundtrack is a different story. Some very nice writing there. "Sky Battle" is hands-down the best non-Williams Potter action sequence.
  23. Like
    Datameister got a reaction from bollemanneke in Harry Potter 7CD Collection - MUSIC discussion   
    I've never even picked up the DH2 soundtrack because of how much it underwhelms me in the film, @redishere, but the DH1 soundtrack is a different story. Some very nice writing there. "Sky Battle" is hands-down the best non-Williams Potter action sequence.
  24. Like
    Datameister got a reaction from redishere in Harry Potter 7CD Collection - MUSIC discussion   
    I've never even picked up the DH2 soundtrack because of how much it underwhelms me in the film, @redishere, but the DH1 soundtrack is a different story. Some very nice writing there. "Sky Battle" is hands-down the best non-Williams Potter action sequence.
  25. Like
    Datameister got a reaction from Fal J. M. Skywalker in Soundtracks, Compilations, or other recently purchased Music   
    On somewhat of a whim, I just ordered La-La Land's expanded Sky Captain and the World of Tomorrow and their big Planet of the Apes multi-film box set.
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