Jar Jar

Hi all, I was reading the conductor score of HP3, and some cue are missing, especially everything related to the cue "Buckbeak's flight". This cue has always been a mystery for me (back from the first release in CD) as it sounds "slightly" as Zimmer chords. You know a i followed by a VI acting constantly moving back and forth, with a lot of percussion. I know this cue is a beloved one (stange things is that a lot of people are complaning about Zimmer but the cues which sounds the most like him are the most appreciated by JW fans - same stuff with The Spark or Jedi Steps from Star Wars 7 & 8). But Nevermind. So I was wondering, as this cue is not from the original manuscript, if it was a late addition from a temptrack, quickly written by JW and recorded at the end. Maybe someone has more information about the writing and recording process ? Thanks

Hi Guys, Now, I am studying Fawkes the Phoenix and I am totally stuck by the harmony played during the bridge. I got the score signature edition but I am wondering if it is not wrong. Measure 34 and 35 The harmony is divided beetween the lower range (CB, VC and horns) and the upper range (Piano, va, woodwinds) If we look at the lower range, they are playing : Dmajor7 (D in the bass and C D F# A by the horns) in measure 34 and alternate the next measure between AMajor7M (C# E G# A) and CMajor7 (C in the bass and Bb C E G by the horns) At the same time, in the upper range : measure 34 we have AbMajor7Maj (C Eb Gb Ab) and measure 35 : C#minor 7 (B C# E G#) and C major (G C E) So I would analyse it as a polychord in measure 34 : Ab / D and in measure 35, I wonder if I should consider the AMajor7M = C#minor7 with some added notes (B here considered as a 9) and then the C. Now if I am using only my ears. I can clearly ear the DbMaj especially the A played by a vibraphone but no clash with a Ab. Then I can hear a chromatism between C#minor and C. So I think the lower part is ok but the signature is totally wrong with woodwinds. However, If I look a the complete score, those polychords are also there. I don't know what to think (my ears are maybe not yet trained). But maybe at the mix they turned down the polychords ? Thanks

Hi Guys, I am currently studying Fawkes the Phoenix and I am totally stuck by the harmony played during the bridge. I got the score signature edition but I am wondering if it is not wrong. Measure 34 and 35 The harmony is divided beetween the lower range (CB, VC and horns) and the upper range (Piano, va, woodwinds) If we look at the lower range, they are playing : Dmajor7 (D in the bass and C D F# A by the horns) in measure 34 and alternate the next measure between AMajor7M (C# E G# A) and CMajor7 (C in the bass and Bb C E G by the horns) At the same time, in the upper range : measure 34 we have AbMajor7Maj (C Eb Gb Ab) and measure 35 : C#minor 7 (B C# E G#) and C major (G C E) So I would analyse it as a polychord in measure 34 : Ab / D and in measure 35, I wonder if I should consider the AMajor7M = C#minor7 with some added notes (B here considered as a 9) and then the C. Now if I am using only my ears. I can clearly ear the DbMaj especially the A played by a vibraphone but no clash with a Ab. Then I can hear a chromatism between C#minor and C. So I think the lower part is ok but the signature is totally wrong with woodwinds. However, If I look a the complete score, those polychords are also there. I don't know what to think (my ears are maybe not yet trained). Thanks

Hi guys ! I got a lot of star wars soundtrack and lost on what is good or not. I have episode IV V VI original Vinyl releases. Those ones are wonderful (they crack a little but i love the raw sound without too much reverb). However It lacks a lot of music from ROTJ. I have the 4 CD Box set. I l have not really listened to them a lot (except the original ewok final which is far more better than the new version) because... I have the three complete soundtracks which were released at the beginning on 2000 I guess (with the hologram cover). These are the CDs I am listenening the most. I have heard there were some issues with ROTJ. Is it true ? And for the Prequel I have the original CDs (and complete bootlegs). If I understand well, I can skip without a doubt the other releases ? Thanks

Regarding the sound, it was really marvelous ! Hook ans Star Wars were perfectly balanced d the sound crystal clear. as I have read before, the bassi were enjoying their part dancing with their instruments. the concertmaster was quite stressed but managed. i cried on raiders ! regarding the mistakes, Williams made a sign he was not happy to the 1rst violins during CE3K, but corrected instantly. during HP, Anne Sophie was late in time when playing the pizzicati chords but Williams and her smiled at each other (« ok i have been spotted »). It was not at all a big issue. I didn’t spot the ET mess-up but wasn’t carried by the climax so maybe that’s the reason. but the concert was so magical, so full of joy from the crowd and the musicians. It was perfect. Even Anne Sophie, she stayed to play the Raider encore. Usually Soloists don’t accept to play Violin1 parts, because there is a lot of ego and they are above the other players. she took the V1 music sheet and played with humility with the 1rst violins. It shows how the concert was quite a moment for everybody.

Hi Guys, it was incredible ! i was in row 3 so some good pictures !

Sorry ! I was thinking there was a better quality.

Hi Guys, can someone PM me regarding the lossless FYC album ? Thanks a lot

Hi all, it helped me a lot. I have finished to study this cue. The writing is so clever. Finally the harmony evloved from the hextatonic scale to the Hungarian minor scale (minor mode with augmented fourth). It's incredible how Williams plays with a three notes motif allthrough a 4 minutes piece modulating and changing the harmony and instrumentation in order to not bore the listener. I am starting Harry Wondrous world now. Listening to the tune, it's seems largely more tonal. If you don't mind I will use this trhead to ask for questions if needed. Thanks a lot for your help and happy new year.

Hi Guys, I am studying the sorcerer's stone from HP1, and it's quite difficult for me (I am quite acustomed to classical writing but mainly tonal until the beginning of 20rst century), and I d'ont understand a lot of what is going on on this one ! I have started by the 20 first measures. By playing the three note theme (Bb C# A). I can feel that the A is the tonic. So it seems to follow a double harmonic scale (arabian scale). The chords playing the harmony seems to createe a polytonality as they are not at all in the scale. First half of the measure (Bb C#), there is a Gb+ which resolved in a Bbminor (contrasting with the A in the melody). The augmented chord seems to be there in order to create an atonal feel and resolve quite smoothly. So it seems that there is bitonality. Am I right for the moment ? Thanks for your help

Speaking about leaks, do you know if some of the conductor score of the last jedi or Force Awakens has leaked ? I would love so much to have a look at them (especially last Jedi as the Hal Leonard concert score contains only the Rebelion is Reborn). Thanks

Hi Guys, I am currently listening to this album and enjoying it a lot. There are some real gems which are not on the OST. I have not finished yet (only CD1 for the moment) but I was wondering why this album as such a bad reputation on the forum ? There should be lot of edits as it follows the movie but spotted only one annoying one (on Anakin vs Sebulba, there is a change in tonality and rythm which is really bad). Otherwise, it seems to flow well musically. Thanks

I don't understand. As I said, I am comparing the original 81 release (by Polydor) with the Concord version and Concord as a correct pitch comparing to a standard tuning. The 81 version has a lot of different pitches depending on the tracks. What I mean is notes in the 81 version are never perfect. They are slightly detuned on a lot of tracks.

Hi guys, by reading the full topic about Indiana Jones concord album, I have learned about the issue with the pitch on Raiders. I never noticed the issue so I took my piano and listened to the map room (from the 81 OST vs the Concord). And it's not the concord which is wrong but the 81 album. The three first notaes are G F# C. In the concord version are at the right perfect pitch (at 440khz) matching totally the piano (and my trained ears). In the 81 , the notes are slighty detuned. For example the G is not an exact G mais something between an F# and a G. So maybe, the tracks have been slowed down by the movie editor or even by Williams in order to match perfectly the movie. But for sure it has been recorded as the Concord version (otherwise all the LSO have detuned their instrument...) Hope it helps :)

Hi guys, i am studying Fawkes the phoenix and I have found a pretty dissonance. The bridge at 1’06 is sounding very pleasing. However by analysing it, it’s strong dissonants polychords. During the 2 bars sequence (repeated twice before the modulation), the lower register plays a AMajadd2 chord (A B C# E) followed by a DMaj7\F# and back to the Amajadd2. On the upper register we got other chords: a quartal B : B C# E F# which marvelously matches the Amajadd2 à la Debussy. Then it moves to B7\A which is really dissonant on the piano vs the DMaj7 followed by a F#min7 which is ok vs the Amajadd2. But I am amazed how it sounds good on the track but so dissonant when playing thd B7 vs the D7 at the piano. What do you think about it ?

Hi guys, I am currently studying the Harry Potter scores and I am amazed by one chord progression. It's the beginning of the chamber of secrets theme. The introduction is based on two chords (from 00:00 to 00:13) C Eb G B E : Obviously a Cminor major 7 (The James Bond chord !) followed by : B C Eb F# Ab : what the *** is that chord and what function does it represents. I have spotted the Hungarian minor mode which is a minor mode with augmented 4th. So in Cmin : C D Eb F# G Ab B C I am hearing the chord being a vi minor major (like the imperial march) Ab B Eb with added C and F# in order to create some dissonnance and the horror of the chamber. But I'm not sure that is what Williams had in mind. Work also with a more classic VI Major : Ab C Eb with added B and F# What do you think about this ?

Oh great, I put back my question in the thread.

Hi all, I ma a long time reader of this forum but now times are changing and I'm gonna try to contribute First message and yet a question for the musician fellows. I think it would be helful to create a thread with all questions and observations we have on JW scoring style. Hope you will not mind. I am currently studying the Harry Potter scores and I am amazed by one chord progression. It's the beginning of the chamber of secrets theme. The introduction is based on two chords : C Eb G B E : Obviously a Cminor major 7 (The James Bond chord !) followed by : B C Eb F# Ab : what the *** is that chord and what function does it represents. I have spotted the Hungarian minor mode which is a minor mode with augmented 4th. So in Cmin : C D Eb F# G Ab B C I am hearing the chord being a vi minor major (like the imperial march) Ab B Eb with added C and F# in order to create some dissonnance and the horror of the chamber. But I'm not sure that is what Williams had in mind. Work also with a more classic VI Major : Ab C Eb with added B and F# What do you think about this ?