ETMuz

I could be wrong but what I understood what he meant by parallel is that the first Tri-tone comes in at 3:07 with the notes Eb and A - then moves up at 3:11 to Ab and D, then moves up a whole step to Bb and E then back down a whole step. Then down a half step then back up a half step. Keeping the distance with those two notes a tri-tone away. that may not be what he meant but that’s the way I took it.

I haven't upgraded since the release of Sibelius 7. I got it through the college music dept that I work for. I arrange music for some of our performing groups at the college, among doing other things in the music dept. I'm down with trying some potter stuff. I certainly want it to be worth the effort since it can be a little time consuming. we can take our time Just let me know if you want. I sent you a PM.

Spot on. Definitely using the tri-tone up high. You have a good ear

@Falstaft, thank you for your time and most excellent reply with great examples!! Nice work on your reductions too! You hit the nail on the head in several of your points and you made me laugh at: I guess that B section is like I read one time in jazz book that said "try to think pool of notes, and not so much chord". That statement made me think and analyze music in a different way. You are ahead of me in the effort to reduce and label the harmony that is encompassed in the music. In many cases you are so right where you just can't call it a chord without it looking ridiculous. You are so right! I would love to collaborate on something like this with you or anyone that likes to do this kind of analyzing. Is there a thread dedicated to something like this that we could share reductions? Is there a particular piece of his music that you have not gotten to that you would like me to try? I use Sibelius.

Cool! Look forward to it!

I have enjoyed learning from alot of you JWFanners here. I don't post much but I am a lover of harmonically rich music. I have spent my last 6 or 7 years or so trying come up with the best system of understanding exactly what I am hearing(such as minor 7(b5) etc. That is why I try to diagnose music that I love. I understand harm in a deeper way when I hear the quality of the chord symbol I am looking at. I love big rich chords which is what drew me to JW many years ago. I remember hearing his work and knowing that this dude can play some piano I know! I still struggle sometimes knowing exactly what to call certain chords as it may not be as simple as C7(#11). I guess I am just more used to playing jazz than understanding how the classical analyzers look at things. My question is do you think that Mr. Williams ever puts down chord qualities in his sketches? atleast in the early part of his creations? Or do you think its all notation writing as he is doing it? I have seen a John Powell score where he had the chord quality in the music and I really enjoyed looking at it one time through like that. Just wondering how many of you are like I am and do you have your own system of diagnosing complex chords? I am currently about to start Music Theory III and I am trying to figure out how much I need to dive into figured bass or if thats not the way to go to analyze someone complex like williams. Really sorry if my post if unfocused. I love this topic and there is not a more interesting mind to try to figure out than that of John Towner in my book. Daniel

love me some Indy, but I had to go with SW OT!

Elgar Cello Concerto

Never heard this before. Thanks!

I shouldn’t have said main theme. It’s the one that moves from a minor chord down a half step to another minor. (Or something like that) I like his score I just want to hear some variations in the theme if I’m going to have to hear it 50 times. That’s just me though.

Vertigo - scene d’amour!! Blew my socks off Star Wars ESB E.T. - Bike chase to end credits is some of my favorite go to music! Braveheart LOTR - I get tired of the main theme but l get More interested in some of the underscore moments. I gravitate to the ones that are heavy. Without heavy emotion music is boring to me.

I have to go with hook because as a lover of some jazz harm Hook has more of it. Potter is a darker film but I still enjoy his work on it as well. Hook to me has more of those graceful moments that I just listen to over and over. "The Face of Pan" (There you are peter) gets me with that distant flute and those chords on that cadence at 0:52 and again at 1:02... masterful cadence. JW is my hero for these little moments. Here is the link https://www.youtube.com/watch?v=9WaBQiWxs-A&list=PL58B382310182619B&index=17