The Five Tones

A wonderful archival edition to have - what a scoring year for him. There's a metascore feeling to it, with echoes of existing repertoire and hints of things to come. I listened to the intense early act of the score before referring to the notes or revisiting any material on the film, it works without getting specific on subject as Jerry's style works its own narrative magic. Somewhat reductive from what I might've expected in this period though brilliantly so and also among his most dynamic including Alien.

In the mail today (9 days after ordering). Arrived home too late to focus on but tomorrow night!

Got a shipping notice yesterday so should arrive soon, usually within a week or not much more from Burbank to Toronto.

nominally better than Horlicks. Growing up in the 70s it was the allowed alternative for Quik (now Nesquik) in my house. You could never really get those instant coffee-like crystals to dissolve properly in cold milk.

I was listening to TFA the other day and I thought of this sub-topic, and (you may well have noted that) the progression appears in major mode form as the tension mounts before Kylo kills Han, foreshadowing post-kiss Ben but still with the ambiguity of the 2nd degree ending:

Ordered, MQA be damned.

Bravo! Not a film or score that has been on my radar (cultural and personal experiences and ultimately, interests and tastes informed by same) but going to look into it now that it has the MM/LLL stamp of approval. And obviously it's a major item with the fan base. Will definitely check out Maurizio's episode about it, he always makes everything sound fantastic! Are there sound samples? May be enticed to order it alongside Goldsmith's The Swarm LLL release, which should be lots of fun.

Definitely

James Mangold on the red carpet for Indy 5: "So what happened was Clint Eastwood just showed up on day one of shooting and wanted to direct an Unforgiven style Indiana Jones. How could I say no to Clint Eastwood? We kept it quiet until now, and he was more than happy to work without credit, sort of like an invisible man sitting in the chair. And then Ennio Morricone called Clint and said he was sorry for refusing to work with him before, so Clint had him score the picture... discreetly, in Italy, of course. Maestro had some rather radical ideas on how to improve John Williams' classic music. He thought it was hazardous to associate a march, no matter how well written, with archaeology, so he went with a six-voice double fugue, using both the A and B Raiders themes. Marco Beltrami absolutely could not say no, and in fact he was over the moon. Harrison was just happy to give the fans something they weren't anticipating." JW to his assistant: "Book me on the next flight to Rome. I've got a job. And pack my titanium baton, I've been wanting to try it out."

I'll wait for the YouTube upload. Not buying any version of the film since Disney+ will eventually have. Does anyone know of any plan to do a feature length doc on JW? Even a 90 min Netflix special. Would be a crime to not capture his story at this magnificent stage... while he's still with us.

Listened to the whole thing, rather quickly obviously, on the way to work. Fits an icy February walk to the subway, and morning rush hour tired people intensity, lol. I love the modernism and daytime drama vibe for Rogo and Linda, but it is in places about as ugly as he's dared get in terms of sonority. There aren't many if any of the familiar emotional arcs other than at the stellar end points. It's dark grey. But I love that I put this on in 2019-20 and immediately hear a scoundrel, a princess and a victory.

Is this writer/editor's research and analysis on the score largely sourced from threads on JWFan, Frank Lehman and Mark Richards, etc. or coincidence and he's doing all this work in parallel himself? It's an interesting, very comprehensive review.

"I love all your underscores!" "Yes, dear. They probably didn't tell you not to touch me without permission. That's my gesturing arm. For when the music has changes in it, which happens sometimes in film scores as you may or may not know, and I need to signal the orchestra." "I see. I thought those were mistakes!"

Ludwig told me last week about this topic which I missed, and at the time my reaction was to call it the "fate" tag. Tragic works too, less overtly Wagnerian. Perhaps "destiny," and here's another instance of it in the Destiny track... exposed on solo clarinet with an extra neighbour note - 5-(4)-6-2 - right after (yet another) gentle Sith/Neapolitan variation of the Force. I also suggested to Ludwig that the major mediant incarnation of this with Ben Solo's death matches earlier instances in Galaxy's Edge... ... and TPM (same key as GE), where I first became aware of it as an entity, and where it enters as if out of nowhere, as we prepare to meet Anakin for the first time. In yet another variation in the same cue the tag is transposed up: 1-b2-5

Of course, and I knew that and just didn't... drink caffeine before typing.