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Posts posted by Arpy
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Oh myyyyy!
I didn't think there was that much unreleased, I thought it only a couple of cues...
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Sounds very much in the vein of HTTYD but I think it sounds wonderful! Thanks for the samples BB!
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I don't know how long before the film the clip I shared was released and I can't recall what music was actually used in that scene, it just sounds like a variation of the theme from the latter half of the end credits. How much and what exactly is still missing from this score?
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The biggest problem with the Hobbit trilogy is that they effectively sidelined the main character the series is based on. From the perspective of the books, it is Middle-earth through the eyes of Bilbo.
Until late, I've never much agreed with the film revisionists who have cut the films back down to Hobbit size, but here's some changes they should have made:
1. Keep Gandalf's activities with the White Council but only include them in the EE's. They're some of my favorite scenes in the films, but if we are to make it closer to Bilbo's tale, none of that should be highlighted
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2. Ditch the romance between Kili and Tauriel. Another thing to distract us from Bilbo...
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I would also agree, that DoS is the strongest of the three scores. Like TTT, it was at a point where you could introduce new themes whilst also developing the ones of the prior film. DoS is the only of the three Hobbit scores I have in entirety on my phone for travelling.
I love the development of Smaug's theme and the rising power of Sauron and the Nazgul as they are introduced. Then there's the brilliant Beyond the Forest and Tauriels theme which is interwoven, often playing off Legolas' theme and the Woodland Realm in 'The Forest River'.
There's also the luscious theme for Bard and Laketown and the powerful, driving theme for the line of Durin enter and there's not much more I could entertain that Incanus has mentioned above!
It feels like it has a clear narrative where the themes work in musical harmony to tell the story and not just the action.
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Barnard is a better name. Take it or leave it!
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Barnard, SOU, I come back to you now, at the turn of the tide!
"One stage of your journey is over, another begins. War has come to JWFan. We must go to The General Discussion Forum with all speed."
"It was more than mere chance that brought Barnard and SafeUnderhill to JWFan. A great power has been sleeping here for many long years. The coming of RPurton will be like the falling of small stones that starts a flame war across the interwebs."
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I feel the same about AUJ, it is the closest to match my expectations of the films. It really felt like a return to Middle-earth and the CGI wasn't as ludicrous as the following two. Also I think they managed to capture some great scenery in New Zealand again.
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Yes, and that I'm sure is where PJ and the studios are to blame.
I would love a whole suite devoted to Gandalf's themes. I hoped we would also hear 'Dreaming of Bag End' when Bilbo returned, but nope.
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Appended to my last post, I know people all over the place are disappointed we didn't get the spectacular vignette of themes that accompanied scenes like 'The Lighting of the Beacons' or 'The Breaking of the Fellowship' for two of my favourite examples, but surely the scenes they were written for were bigger narrative moments that had more gravitas than any of the scenes in the Hobbit Films. I knew before seeing the Hobbit that we weren't going to get that and was pleased we got music that worked really well for the films. In this way, I can expect people to be disappointed with The Force Awakens...
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Another thing to consider is the sheer amount of thematic baggage HS had to create and weave into the Rings' films, all of which bore a weighty feel to them on context of the plight of the characters. It would be strange if the Hobbit scores were more majestical or mighty than the scores to follow them as the Hobbit is meant to be a different approach in terms of tonality and character.
I would say that Rings and Hobbit are very similar in terms of thematic density.
I should have emphasized the latter part of my statement in that, although it could be argued the scores do contain as much of a rich tapestry of themes and motifs as the predecessor trilogy, the themes established in Rings' are perhaps more important. I think everyone here knows just how many motifs and themes Shore created for this new trilogy, but all I'm asking is are they as wholesome and integral as the themes from their predecessors?
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I think they exhausted poor Smaug in the second film. His death at the beginning of the third film felt abrupt in comparison and I wish they could have squeezed that into the end of the second.
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I've spent the last few weeks listening to the scores for the Rings' trilogy again, and I think the sounds and textures Shore created for the Hobbit films is very consistent and has grown on me considerably. Most of DoS and BotFA have that heavy dissonant approach that RotK had. Initially I came out of the films like you Bollemanneke, thinking 'What haappened, Howard?' but I think thoroughly going through them again and considering the cues in context helps you see what direction PJ was pushing HS in.
Another thing to consider is the sheer amount of thematic baggage HS had to create and weave into the Rings' films, all of which bore a weighty feel to them on context of the plight of the characters. It would be strange if the Hobbit scores were more majestical or mighty than the scores to follow them as the Hobbit is meant to be a different approach in terms of tonality and character.
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The aforementioned cue appears twice in the film, once as written for the Funeral Scene and second tracked in to when Dallas (Tom Skerritt) is trying to access 'Mother'.
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Coincidentally, the video above has this to say:
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Found this interesting reworking of the cue for the game 'Alien Isolation'.
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This is amazing, Alexander!
Thanks a bunch! It's interesting to read the orchestration whilst listening to the track, everything works perfectly!
I had always, as an aside, wondered what exactly that noise was (a wind machine) that's unusual.
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Thanks for your help, Alexander!
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I suppose it would make for a nice bonus, but keep in mind that going into such detail when not required could cost you marks
.Could you give us some timestamps for specific parts of the cue you want to know the instrumentation of? Scans of the orchestrated score have long been in circulation, so I'm sure I'm not the only one that can help you.
Yes, I shall heed your advice on not over-elaborating things!
0:35 - 1:51 of Nothing to Say is the timestamp, at least on my copy of the track.
Any help would be much appreciated and even for generally understanding the cue on a technical level would be interesting.
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It doesn't state so, but I would like to at least say which instruments are being used instead of just the generalization of 'brass' or 'woodwinds', If you know what I mean?
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Hey all,
I'm doing an assignment for my uni course and thought the knowledgeable members of JWFan could help with this particular detail. I'm analyzing a sequence from the film, the Chest-burster scene and the funeral of John Hurt's character, Kane. The funeral scene is underscored with one of my all-time favourite cues: 'Nothing to Say'. Anyhow, the assignment requires that I analyse the use of music for the scene and this is where I became stuck, particularly because of my terrible apprehension of the difference between instruments.
Does anyone here know of the instrumentation and orchestration of this cue and in particular the statement of the main theme?
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Fredrick Lemonhands: Tim Burton's latest film detailing the life a reclusive man with lemons for hands. Try sculpting ice with lemons, now there's an idea. Probably explains why he doesn't have a good grip at composing music!
The Doctor Who Thread.....
in General Discussion
Posted
A nice new variation of the 'A Good Man' theme. Missy's theme gets another whirl and the Dalek music is resurrected for their return! Hopefully more good episodes and more importantly, good music!