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Jediwashington last won the day on March 7 2018

Jediwashington had the most liked content!

About Jediwashington

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  • Birthday 04/26/1989

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  1. I mean, it's sort of a battle of semantics. In my opinion, Williams' Fiddler is not simply a re-orchestration and putting in a few transitions; it even presses the boundaries of arrangement into "reinterpretation" at times. That being said, all of the source material is from the original score with all melodies and vocal lines preserved 99% of the time. It's really the supporting material in the background that is the most different and adds a lot more virtuosity and he changes some keys. A simple crescendo in the broadway book gets incredible treatment from woodwind runs and miracle of miracl
  2. Randol Bass definitely gets on this list. He has some corny stuff for educational ensembles, but his Gloria written in 1990 actually predates Call of the Champions by quite a bit despite sounding really similar. Can't find a good recording of his night before christmas, but it has elements of that childlike orchestration from ET, BFG, and Home Alone etc.
  3. I disagree. While there is certainly some gushing in there, there were some subtle variations to his standard set of questions that gave us some more insight; for instance I don't think Williams really answered the question well when he asked about what he listens to when he is trying to capture a different culture. He alluded to needing professional modern chromatic flutes to make a sound like Asian flutes - which I suspect is just be a bad cut, but when pressed a little he did mention that he needed to listen to more when working on Geisha for instance. He also asked about his composition pr
  4. How sad... I wonder if Williams will write something or perform dear basketball for the community. I imagine he is distraught as well. They seemed close.
  5. Yes - 100% this. He simply writes for orchestra like big bands. The chord complexity you can certainly analyze from a romantic theory standpoint, but it is much stronger of an argument to simply call him a jazz pianist and composer. That being said, I would put him near the top in jazz pianists/theorists, but for a jazz pianist you are mostly using chords to drive interest/complexity/mood/color/shape and less concerned about the individual notes. He's collected hundreds of progressions and modulations over his years that communicate certain moods/emotions and he just uses them at will like a l
  6. That's probably the case. It's also probably why the ensemble isn't as clean as I expect from Williams. He's a notorious stickler about clean intonation and rhythms from the ensemble and I'm not hearing as much discipline from the orchestra as he would get from them - particularly on rhythm. Yeah, Sony is just too small of a room for Star Wars in my opinion. It's such a loud score, it needs room to breath and a longer reverb time give the brass/perc some room to bloom. They keep Sony live by not putting up all the section isolation that you'll see in a lot of Giacchino's
  7. Ain't that the truth? Though the irony would be lost on them, most likely...
  8. The title is Star WARS and a march isn't appropriate? It's a stylistic choice, and he certainly uses wonder when it's called for in the films. The reality is that Star Wars isn't really about space - it's greek inspired character development that happens to take place " a long time ago in a galaxy far far away." It's why Williams relied so heavily on Wagnerian lite motif because he knew themes would help tie the story together. Scoring it larger than life I think was appropriate as well given the size of the structures the characters are placed in. Now, I don't doubt th
  9. Yeah... I had to laugh at the Junkin shade being thrown in this thread - They'd be thrown out of Texas for even suggesting Jerry performed a wrong tempo! I also know Jerry well enough to know he's going the marked tempo. If the group is responsive enough is another story, not to mention that Williams rarely follows his own tempo markings to the millisecond for live performances. He'll vary by a bit and move around with the group. You can't do that on a sound stage though. His lyrical slow stuff has quite a bit of stretching on beat 4 to make a hit point on one, etc. If anythin
  10. Yep... This one wins for me. He really makes the listener think its just going to be a piano attack like the end of Firebird (a la Stravinsky), but it's just another scale and fanfare. Just incredible taste. Love every second of this score.
  11. Curious... I don't think this is released yet, so I'm curious if someone transcribed it.
  12. I don't know, but there is this incredible chromatic circle of 5th sequence in "The Queen's Dream" starting at 1:20 and following with a statement of Sophie's theme that is harmonized with some really fun layers and rhythmic layering that I think is tragically missing from this suite. It may be one of my favorite moments in the film score wise. I sort of know why he left it out, since the key is slightly different (only like a step off I think), but I can't help but think it would be a much better transition then the sequence he wrote at about 5:30 in this recording.
  13. Definitely "Chairman's Waltz." Uses a lot of the same melodic chromatic alterations and chord progressions. Maybe a little slower, but I hear it as well.
  14. So many great things about this performance. First off, I'm yet to hear recordings in this new hall, but it sounds gorgeous. Perfect reverb for orchestral playing. Need to go see something there for sure! What caught me off guard was how fresh this sounds with the antiphonal second violin seating. I love this set up in the strings because it brings so much warmth to the orchestra placing basses and celli more center. I wish Williams used it more often - it's almost standard with most conductors now. It does bring down the brilliance of the seconds and violins in general (since he d
  15. I grew up down the street from Kunzel and went to pops concerts all the time with Cincinnati. Quite a treat knowing him! He was so lovely. His interpretations are a lot more German inspired. I love that he encourages the brass to be so much more legato than Williams would probably recommend. The Cincinnati Brass has always had quite a reputation. Aaron Copeland wrote "Fanfare for the Common Man" for our brass section and they've sort of tried to keep the sound similar over the years in their choices of players. The percussion overplaying and bright sound is sort of because of the h
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