Oomoog the Ecstatic

Video no upload.

Murry Christmas, chat. This is objectively the best Christmas symphony for the holidays, it was written by John Williams' and Mozart's favorite composer, Yo-Sup Jivin', so put on those Irish jig shoes, turn your Skullcandies to max and prepare for mad beats.

Though why limit it to movies? In video games there's a melodic genius by the name of Nobuo Uematsu. Kind of Uematsu-esque, I always thought the choir of just V - V - iv, V - V - iv in 13th Warrior was incredibly catchy as a main theme or hook people remember in a movie, it just never became popular. Nothing people would sing or anything, just something they would remember. I mean that's just as catchy as duel of fates lol, just way more efficient. Then I think people easily recognize the score of this film: @bruce marshallU need to study more Uematsu, my friend.

In the video exercise, we see how The Force Theme using the 4th degree (note of C) is inherent to its melodic metastructure: the foundation of a suspended 1-2-4 arpeggio which foreshadows the 4th degree being held in measure 4, during a IV chord. Example 1 removes one small note, which proves a pivotal disruption to its overall character. Example 2 removes the whole rhythmic mannerism, yet in keeping its melodic identity intact, resembles something much closer to the Force Theme in overall character.

"Why do you listen to that Binary Sunset music so much?" "I enjoy marches." Firstly I like to single out what the moment that truly makes a theme is. For instance, with E.T.'s flying theme I noticed the critical aspect of melody and harmony was from the II - V transition, that leap from the note B to a high B resolving on V. With The Force Theme, I feel the prime area to note is the first four measures, the build-up from chords i to IV. So I can set the rest aside at first. Distinctive qualities of the first two measures: - The melody first holds on the degree 1, 2, and then before even holding on 3, it lightly passes by 4 in an off-triplet. What this does is give the impression that an initial harmony has been present before even getting to i: the looming emotional obstacle of the note degrees 1 2 and 4, forming something that has been suspended with Luke this whole time. The degree of 4 breaks into our subconscious before the minor gets a chance to, and is not until the 3rd degree is emphasized in measure 2 that finally represents Luke's conscious attention noticing this emotional dilemma, in the new light of the G minor chord. Relisten to these first two measures and you can hear the power of the 3rd degree making Luke's conscious transition to his predicament. - The first two measures assume a i - V7 - i - V7 characteristic at the beginning, but drops the V7 to form this identity of suspense and contemplation around the 4th degree being in light of something other than V7. - It's finally when the piece arrives at the IV chord that represents Luke's epiphany, something he determined he wants to do to remedy, or a ray of hope, and it was that 4th degree glimmering before and predestining his conscious decision--you see the light of the 4th degree break through just before the G minor chord has a chance to get in: Luke provoked the transition from i to IV (whatever his initial thought became) it shows he has always seen light in the darkness.

Really? I couldn't tell.

Crushes my soul to see such a brilliant game come to an end again with no industry for this pure art. At Dead of Night is a new game by the makers of Contradiction, released just a week ago today, and it only has 14 reviews! I can't believe that... such unfairness. This company should be booming by now, though I haven't played the new game yet, I'm trying to get over the shock of the last one. I hope it's even somewhat as good. If by it chance turns out to be a dud, I can only blame the industry and public for having their heads up their asses while not supporting this company. I'm so happy to see they released their next game, will update once played. At Dead Of Night is part horror film, part horror game and part ghost hunt. It blends live-action and graphics to create a unique immersive horror experience like no other.

So who's the John Williams of his time? New thread maybe?

Sometimes the deepest questions seem the silliest at first. But I think we're finally getting somewhere, think about it.

W. F. Bach was John Williams the guitarist of his time. I'd agree with this.

Genres are dumb. That's what synopses are for, or at least keywords. Remember last.fm where you used to type any word that comes to mind and it would bring up a song, or type a combination of more general words. If you want to relate movies to one another, see if they have some keywords in common.

That's something a Baroque composer would say

Nah. Not 'Romantic,' nor necessarily superior. Just a brilliant and enlightened composer of Baroque music. Perhaps the only real one.

When I really think of that concept of greatest 'music appreciation', Uematsu comes to mind the very utmost. But Williams is there too in emotional expression: I had said once I think film score composers are closer in mannerism to Romantic composers, ie. emotions, where as I think Uematsu is closer to Classical composers, ie. perfect simplicity. Tchaikovsky, Williams, Brahms, and Dvorak are also sometimes in the second category however. It depends on how simple yet effective the music is, the latter category of composers feel just more thematic and natural to me.

It's obvious how the beginning of the Brahms starts as if struggling to give his original voice some merit, but within minutes Beethoven takes completely over. Haha. Some sort of musical necessity or 'appreciation.' It's an instinct that seems to take over moments in Williams' scores as well.

I always called what they do 'music appreciation' at the very core of its meaning. I've noticed a lot of indie composers go the same route, composing in the style of--the big difference between them and avant-garde composers is their overendulgence in the sentiment of classics. I have a hard time imagining someone more in love with Beethoven for instance the structure and breakdown is exactly the same as his 3rd:

Yes. He took all the boring stuff before him and perfected it, made it sound interesting. The difference is Bach to me just sounds 'Baroque,' while Williams had a lot of diverse influences like The Planets, Hanson's 2nd, jazz music. Bach's influences nobody cares about.

My all-time favorite score is probably Lost in San Francisco, but I don't see the genre adventure/romance. I'll go with fantasy.

One of the best games ever:

Williams is more like Bach than Wagner. Wagner was a disassembler and expander. Bach was a collector and perfector. Bach is Baroque through-and-through however, if Baroque is what you're into, his music is an exercise in a time-period. He imo forged a path for even greater composers to arise. Only time will tell with Williams.

This is the main theme of Star Wars There you go, you explained what I had thought. I didn't understand these different theme names, but now that you defined them all I think we should do a recount of legal votes.

Heh, I like how the General forums has video game music as its main description, but then there's literally just this thread.

Usually the main theme is the one most memorable to you from a movie, so I'd say G E - G E - A G F# G E - ↑C B A G D - A G F E D - F E D C B C The others people listed, like Prologue, while they appear in more pivotal and vigorous moments, they don't feel as catchy or memorable for a main theme. They're as pretty great though as A C B A A ↑E - A C - A C B A C E ↑A C ↓F# A

Williams makes an appearance in one of the melody mash-ups:

Key relationships to majors will have the same descriptors as their relative minors, just with yin and yang manifestations. So there are 12 base descriptors, when combining the (static) tonal center with the (dynamic) harmony leading to the new inclusion, thinking in both static and dynamic compositional terms making 144 potential dual descriptors. Say that you switch the half-step difference of the tonal center relationship with that of the leading harmony, conveying the leading harmony as the tonal center instead so it's the dynamic figure in question, now you have the same 2 relationships with their static and dynamic features switched, so you can think about succession in more unconventional perspectives. Then there is harmony in the rhythm of downbeat and upbeat, which can be considered another duality of yin and yang: the object and the subject, and this dichotomy can lead to rules of counterpoint and melody. I've written some books on each of these descriptors and their connection to metaphysics.