GerateWohl

Djawadi plays guitar live at his concerts (at least at the one I attended). 
 
But it is really a question of musical socialization. When you come from classical or jazz music you write themes and counterpoint. When you come from electronic music you write ostinato layers with chord progressions, when you come from pop music, you write melodies over repeating chord sequences. Of course each of them evolves a little into this or that direction. But basically people have a certain way of "thinking " music. 

Absolutely agreed on those two! "It's a Long Road" is also high up there for me.
 
I think his main theme from Papillon is absolutely fantastic in song form. And it's not like I always think the lyrics to Goldsmith melodies are great, but there are plenty of Goldsmith melodies which just work really well in song form: The Last Run, or "Our Last Night" from The Don Is Dead, for example. It's not a *great* album or anything (I don't love all the performances), but that BSX Jerry Goldsmith Songbook disc still is evidence that "The Dark Song" from The Detective and especially "May Wine" from The Blue Max are great song melodies.
 
Oh hey, since you love "My True Love's Eyes" as I do, you may find this song "My Parents' Child" which he wrote for an episode of The Waltons to be of interest (this is not one of the six episodes he did the instrumental scoring for just FYI, but the episode's composer is adapting the song melody that Goldsmith wrote for the episode in pre-production):
 
The musical phrase that hits “tomorrow’s child” (and earlier “my parent’s child”) in this song reminds me very strongly of the “my true love’s eyes” musical phrase in, well, Jerry’s song of that same title from Legend. Anyone else hear it? It's almost like this song is the missing link between The Ballad of Cable Hogue's "Tomorrow Is the Song I Sing" and Legend. I'd love to hear a newly-recorded (and better performed) version of it some day on album.
 
Yavar

Never seen the movie. 
Is it good?
 
The score is lovely. 

That's lovely. 

"My True Love's Eyes" is my favourite. 
Second probably "Ave Satani".

I like some songs based on Jerry Goldsmith themes, but I'm honestly not a big fan of either of these... I abstain.
 
Yavar

I think, the point goes rather the other way around. Nobody says, you need to be a great pianist to be a great composer. I rather think, people are trying to understand and searching for explanations why todays orchestral scores are so poor musically.
 
And the idea, that this might have to do with musical education, skills, toolset and/or experience as performer seems not so far fetched to me.
 

A composers vocabulary is not limited to writing notes.
Of course you can just write the notes and leave every thing else concerning intonation, dynamics, tembre and volume to the players and the conductor.
But that is a very limited vocabulary.
There are many levels and aspects of composition, like writing each instruments voice from the perspective of the player, so that it is notated in a way that she or he knows best what is intended and what to do and not too exhausting to play.
 
Probably such details like intonation doesn't matter much for a filmscore, that is drowned under sound effects.
But in case, that doesn't matter much is the point where my interest in film music dissapears.
That is why I don't have much interest in modern blockbuster scores.

I think, the point goes rather the other way around. Nobody says, you need to be a great pianist to be a great composer. I rather think, people are trying to understand and searching for explanations why todays orchestral scores are so poor musically.
 
And the idea, that this might have to do with musical education, skills, toolset and/or experience as performer seems not so far fetched to me.
 

Watched the trailer on YouTube and... nevermind. 
Absolutely not looking forward to this. 
 

A composers vocabulary is not limited to writing notes.
Of course you can just write the notes and leave every thing else concerning intonation, dynamics, tembre and volume to the players and the conductor.
But that is a very limited vocabulary.
There are many levels and aspects of composition, like writing each instruments voice from the perspective of the player, so that it is notated in a way that she or he knows best what is intended and what to do and not too exhausting to play.
 
Probably such details like intonation doesn't matter much for a filmscore, that is drowned under sound effects.
But in case, that doesn't matter much is the point where my interest in film music dissapears.
That is why I don't have much interest in modern blockbuster scores.

Uh-oh...
 

Exactly! It can be a little frustrating watching a movie half way through and then the image freezes and the movie gets stuck because it is unreadable. Sometimes the discs look like they have been used as beer mat for a decade.
But you can be lucky.

With lots of greasy fingerprints on the playable side of the disc?
 
 
What do you mean by unlock?

We have a great selection of movie bluRays and DVDs at the public library around the corner.

Yeah, I'd say it's a good movie. Some dodgy make-up work, otherwise I can't remember anything negative about it, except that there's a few lose threads in the regular, shortened release.

Never seen the movie. 
Is it good?
 
The score is lovely. 

I don't know, I've been reading pretty good things about Canadian music educations.
 
 
I don't think that's true. 
 
 
Not really. You could input the difficult parts with a mouse. 
 

This is a big point. you can record 1 hour of film music in 2-4 hours if it is easy enough. If you compose 2 movies a year, that's only 4-8 hours of conducting. Not very much compared to someone who conducts many times a week.

The only reason I bring up ramin djawadi being a bad pianist, or hans zimmer being a bad pianist is this is how they compose music. They play the music in with a midi keyboard and being bad at piano limits the music you can write. On top of that you would think if you are a composer of 30 years, playing the piano every single day that you would get somewhat good. I called it "kindergarden" level playing, because if you go to piano competitions, kindergardeners play better than that. 

In comparison, brian tyler, while no pianist, at least plays at the level I would expect someone to play to not be as limited with composition.

The Boy Who Swallowed A Star is the absolute highlight from this album. But even though I adore many tracks on the album I never found this a good album listening experience. Still, together with Mononoke and Hana-Bi my favourite Hisaishi score.
 
Still absolutely in music heaven with this boxset. 

 
6 disks, a hundred tracks and each one at least an 8 out of 10. As mentioned before, just one track per score.
During the week I dipped into some of the OSTs and it seems like they really managed to select my favourite track of each album for this.
And even though the order of the scores is chronological the albums flow surprisingly well.

When you got it, please tell me how you like it!

Something in the air. I’ve been taking a Sarde journey too. The box set is in my cart. 

The Boy Who Swallowed A Star is the absolute highlight from this album. But even though I adore many tracks on the album I never found this a good album listening experience. Still, together with Mononoke and Hana-Bi my favourite Hisaishi score.
 
Still absolutely in music heaven with this boxset. 

 
6 disks, a hundred tracks and each one at least an 8 out of 10. As mentioned before, just one track per score.
During the week I dipped into some of the OSTs and it seems like they really managed to select my favourite track of each album for this.
And even though the order of the scores is chronological the albums flow surprisingly well.

Unfortunately I did. I would like to have it, so if they reissue it again I would order it Immediately