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Everything posted by Loert

  1. 0:58 - 1:06 - notice how the strings start out a little rough, before coming together in perfect synchronization by about 1:03. There's nothing in the score to suggest the strings "come together" in this way. So, if this wasn't planned, then it's a "happy accident", because to me it almost perfectly represents the last few seconds before the attack of an army, as they enter final position.
  2. If I could take only one album with me into self-isolation it would probably be this one. Unbelievable playing!
  3. Romeo + Juliet (1996) This film made a huge impression on me when I saw it on TV as a young boy, but I didn't revisit it - until a few days ago, when the prologue came up in my Youtube recommendations, so I decided to give the film another watch. Something about Luhrmann's sense of drama really resonates with me. I think a major factor is the music used in the film - every track seems perfectly tailored to the action on screen (and vice versa). And there are so many shots which just stick with you and which aren't easy to get out of your mind. I'm going to have to watch The Great Gatsby now...
  4. Thank you all for your comments! @karelm Yes...I know pacing is something I need to improve on. Once I get a musical idea, I find it quite hard to alter it meaningfully, without just placing it in a different key or extending it. So do you think that the buildup starting from 4:40, say, would be more effective if it were longer? I am very flattered that you compared my piece to Myaskovsky's...his 6th Symphony (and 24th to some extent) is one of my favourite classical pieces!!! @Fabulin I do have a score but it's not very clean...
  5. Here's my latest composition: The first few seconds have been floating around inside my head for the best part of a year, so I finally decided to make something out of it!
  6. Indy's Very First Adventure, no contest!
  7. "Across the Stars" by Alexander Glazunov (2:02:42):
  8. @Disco Stu There are two things happening here: 1. You are experiencing a perfectly natural, human reaction to an interesting section of music, and 2. The top F# comes from the ostinato in the previous bar. The C and G# come from the C# and G in the previous chord, "brought into" the B, which is constant across both chords (i.e. GBC# --> G#BC). The B itself goes up an octave to create a more open sound (or an open fifth in particular). For me that last chord is almost like a G# half-diminished 7th chord with the D brought down to a C.
  9. 8:56 - 9:26 Sounds almost like two people having an argument!
  10. I can't remember when I heard it, must have been a few years ago now, but there was this interview where I'm pretty John Powell said something like "I don't like to conduct."
  11. It doesn't get much better than this... On the subject of Rule Britannia, for me the definitive performance is by Elizabeth Bainbridge with The New Philharmonic Orchestra, conducted by Arthur Bliss:
  12. Nothing from the world of film music gets my adrenaline rushing as much as this cue: (...with Sail Barge Assault in close second place. )
  13. Very nice! 0:36 to 0:49 gave me goosebumps.
  14. JW should record the Original Star Wars trilogy with the sound mixing/engineering used for the Prequel trilogy the Prequel trilogy with the sound mixing/engineering used for the Original trilogy (Ep IV more specifically) the Sequel trilogy with the sound mixing/engineering used for the Prequel and Original trilogy (but not the other way round).
  15. My favourite part is the bit from 4:00, where you've managed to create the effect of a much larger soundspace than you would expect from just 5 instruments! Overall I enjoyed the middle parts of your piece the most. If I were going to say one "criticism", it would be that towards the beginning the music shifts around quite rapidly in tone...perhaps settling on some ideas a little longer would have made the piece flow better. But I also realise that as a film composer you are perpetually inside a chicken-and-egg scenario with timing and sometimes sacrifices have to be made...! By the way, did you intend the piano to sound "old"? (no offense) Overall, job very well done KK! (at least in terms of pure musicianship - I haven't watched the film)
  16. The Temple of Doom (the track). Preferably by LSO + LSO Chorus + whatever other players needed, in the Royal Albert Hall with the lights dimmed red.
  17. WOW!!! (37:45 - end): I love the way in which Kalinnikov took the theme from the extremely soft adagio (14:27) and transformed it into such a blazing, dramatic finale.
  18. So DOTF is the "wrong kind" of music? I wonder where I've heard that kind of language used before...
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