WampaRat

Had my second viewing of the film last night. Enjoyed it even more. A lot of little details really began to stick out to me this time.
 
The “Herald of Change” cue is truly fantastic. It’s so well crafted in setting the stage for what’s to come. I love the big statement of the “wonder chords” as the ships land. And then a sneaky short statement of the “impending doom” music as the procession heads down the ramp. The brief whispers/chants as we settle on the shot of the Benne Gesseret staring at Jessica. (Always pulling the strings!) And then statement of the tragic noble theme as Leto seals the contract (and his fate!) with the house Atreides ring. Not sure if this cue was written first and the film was cut to it, or if Hans and co actually scores to picture. But it’s great. Too many little details that distinguish it from a wallpaper approach to scoring. And for that I am grateful.
 
PS- I think I’m the only one keeping this thread alive lol.

Thought I’d share this little thematic glossary I put together. I was initially among those who thought this was a “monothematic score”- probably because the main theme is used the most throughout the film. The names are my own invention so you might call them something else or attribute them to a different idea. But there’s a good handful here. Funny how Zimmer stated how he never thought of this score in the way of “themes”. Perhaps he meant in the leitmotific way. This is definitely not LOTR. But he’s got some great tunes in here that seem loosely connected to certain feelings/ideas that reoccur on screen. As simple as they may be. This score is great. It bares repeated listens and is not as punchy as PoTC or even the Dark Knight. But I really enjoy it:
 
Dune “A Theme” Main Theme(?) Slower 8 note phrase (4 notes played lower on the scale with the following 4 up higher). Used for a lot of BIG moments.  EPIIIIC 🤪 When played faster it functions as a “B theme” of sorts. This ostinato version  plays under the slower version or plays by itself.
(Leaving Caladan-(1:19-1:39)”A theme”
(Ripples in the Sand- (1:10-1:35)(4:20-5:05) “A theme”
(Visions of Chani-(3:25-3:54) “A theme”
(Herold of Change -(0:00-0:26) “B theme”
(Leaving Caladan- (0:28-1:15) “B theme”
 
 Fate/ “The One” theme- more mystical/slightly sinister theme (similar to Commodus theme in Gladiator) Sometimes played as a “war cry” in regards to Paul’s destiny as a warrior/messiah. 
(Gom Jabbar-1:13-1:37)
(The One-0:00-1:40)
(Pauls Dream- 0:00-1:55)
 
Vast Mystery/Wonder Chords Some of my favorite moments in the score. Tends to communicate a sense of vast space and possibility. The most “space-y” sounding chords in this sci-fi score.
(Herald of Change-1:22-2:10)
(Visions of Chani- 2:28-3:10)
(Sandstorm-1:10-2:00)
(Stillsuits- 2:10-4:15)
 
Tragic Noble Theme-The most “classic Zimmer” anthem tune. Similar to his Bach-inspired theme from Dark Phoenix.Seems to be associated with the burdens of duty/responsibility/leadership.
(Herald of change- 3:08-3:45)
(Visions of Chani-0:00-0:37)
(Blood for Blood- 1:17-1:43)
(Holy War- 0:00-0:57)
 
Impending Doom motif-Bad things are gonna happen.Sounds similar to some of the evil monk music in DaVinci Code.Tends to start low and build in intensity.
(Bene Gesseret- 2:16-2:33)
(Burning Palms- 2:06-3:45)
(Holy War- 0:57-2:12)
(Premonition- 2:00-3:23)
 
Sorrow/Loss motif- Simple sad little tune. Usually performed by a female voice.
(Stranded-0:00-End)
(Blood for Blood- 1:55-End)
(The Fall- 0:30-1:00)
(My Road Leads…- 0:00-1:00)
 
Duncan Idaho motif-
Heard much more in the film itself. A Brief but noble DarkKnight/Man of Steel mashup sounding motif. But it can be heard on the ost in few spots.
(Armada-0:27-1:35) a tragic version with the “sorrow theme” on top
(Burning Palms-0:29-1:10) 
 
There’s a handful of textures and instrumentation used as part of his soundscape for different locations/peoples. Not hard and fast attributions. But in general …
 
Bagpipes- House Atreides. Tune appears briefly in “Armada” and then as source music.
 
Log Drum(?) riff-  Arakis stuff
 
 Whisper/chants - Bene Gesseret stuff
 
Deep Manipulated throat singing- used for a lot of scenes involving Sardukar or the Baron. 
 
Harkonon “screech”- strange manipulated shafar horn(?) pops up when Raban the beast is wrecking havoc.
 
Harkonon “clang”- rhythmic banging pattern often accompanied by the “screech” horn

Had my second viewing of the film last night. Enjoyed it even more. A lot of little details really began to stick out to me this time.
 
The “Herald of Change” cue is truly fantastic. It’s so well crafted in setting the stage for what’s to come. I love the big statement of the “wonder chords” as the ships land. And then a sneaky short statement of the “impending doom” music as the procession heads down the ramp. The brief whispers/chants as we settle on the shot of the Benne Gesseret staring at Jessica. (Always pulling the strings!) And then statement of the tragic noble theme as Leto seals the contract (and his fate!) with the house Atreides ring. Not sure if this cue was written first and the film was cut to it, or if Hans and co actually scores to picture. But it’s great. Too many little details that distinguish it from a wallpaper approach to scoring. And for that I am grateful.
 
PS- I think I’m the only one keeping this thread alive lol.

Thought I’d share this little thematic glossary I put together. I was initially among those who thought this was a “monothematic score”- probably because the main theme is used the most throughout the film. The names are my own invention so you might call them something else or attribute them to a different idea. But there’s a good handful here. Funny how Zimmer stated how he never thought of this score in the way of “themes”. Perhaps he meant in the leitmotific way. This is definitely not LOTR. But he’s got some great tunes in here that seem loosely connected to certain feelings/ideas that reoccur on screen. As simple as they may be. This score is great. It bares repeated listens and is not as punchy as PoTC or even the Dark Knight. But I really enjoy it:
 
Dune “A Theme” Main Theme(?) Slower 8 note phrase (4 notes played lower on the scale with the following 4 up higher). Used for a lot of BIG moments.  EPIIIIC 🤪 When played faster it functions as a “B theme” of sorts. This ostinato version  plays under the slower version or plays by itself.
(Leaving Caladan-(1:19-1:39)”A theme”
(Ripples in the Sand- (1:10-1:35)(4:20-5:05) “A theme”
(Visions of Chani-(3:25-3:54) “A theme”
(Herold of Change -(0:00-0:26) “B theme”
(Leaving Caladan- (0:28-1:15) “B theme”
 
 Fate/ “The One” theme- more mystical/slightly sinister theme (similar to Commodus theme in Gladiator) Sometimes played as a “war cry” in regards to Paul’s destiny as a warrior/messiah. 
(Gom Jabbar-1:13-1:37)
(The One-0:00-1:40)
(Pauls Dream- 0:00-1:55)
 
Vast Mystery/Wonder Chords Some of my favorite moments in the score. Tends to communicate a sense of vast space and possibility. The most “space-y” sounding chords in this sci-fi score.
(Herald of Change-1:22-2:10)
(Visions of Chani- 2:28-3:10)
(Sandstorm-1:10-2:00)
(Stillsuits- 2:10-4:15)
 
Tragic Noble Theme-The most “classic Zimmer” anthem tune. Similar to his Bach-inspired theme from Dark Phoenix.Seems to be associated with the burdens of duty/responsibility/leadership.
(Herald of change- 3:08-3:45)
(Visions of Chani-0:00-0:37)
(Blood for Blood- 1:17-1:43)
(Holy War- 0:00-0:57)
 
Impending Doom motif-Bad things are gonna happen.Sounds similar to some of the evil monk music in DaVinci Code.Tends to start low and build in intensity.
(Bene Gesseret- 2:16-2:33)
(Burning Palms- 2:06-3:45)
(Holy War- 0:57-2:12)
(Premonition- 2:00-3:23)
 
Sorrow/Loss motif- Simple sad little tune. Usually performed by a female voice.
(Stranded-0:00-End)
(Blood for Blood- 1:55-End)
(The Fall- 0:30-1:00)
(My Road Leads…- 0:00-1:00)
 
Duncan Idaho motif-
Heard much more in the film itself. A Brief but noble DarkKnight/Man of Steel mashup sounding motif. But it can be heard on the ost in few spots.
(Armada-0:27-1:35) a tragic version with the “sorrow theme” on top
(Burning Palms-0:29-1:10) 
 
There’s a handful of textures and instrumentation used as part of his soundscape for different locations/peoples. Not hard and fast attributions. But in general …
 
Bagpipes- House Atreides. Tune appears briefly in “Armada” and then as source music.
 
Log Drum(?) riff-  Arakis stuff
 
 Whisper/chants - Bene Gesseret stuff
 
Deep Manipulated throat singing- used for a lot of scenes involving Sardukar or the Baron. 
 
Harkonon “screech”- strange manipulated shafar horn(?) pops up when Raban the beast is wrecking havoc.
 
Harkonon “clang”- rhythmic banging pattern often accompanied by the “screech” horn

Had my second viewing of the film last night. Enjoyed it even more. A lot of little details really began to stick out to me this time.
 
The “Herald of Change” cue is truly fantastic. It’s so well crafted in setting the stage for what’s to come. I love the big statement of the “wonder chords” as the ships land. And then a sneaky short statement of the “impending doom” music as the procession heads down the ramp. The brief whispers/chants as we settle on the shot of the Benne Gesseret staring at Jessica. (Always pulling the strings!) And then statement of the tragic noble theme as Leto seals the contract (and his fate!) with the house Atreides ring. Not sure if this cue was written first and the film was cut to it, or if Hans and co actually scores to picture. But it’s great. Too many little details that distinguish it from a wallpaper approach to scoring. And for that I am grateful.
 
PS- I think I’m the only one keeping this thread alive lol.

Thought I’d share this little thematic glossary I put together. I was initially among those who thought this was a “monothematic score”- probably because the main theme is used the most throughout the film. The names are my own invention so you might call them something else or attribute them to a different idea. But there’s a good handful here. Funny how Zimmer stated how he never thought of this score in the way of “themes”. Perhaps he meant in the leitmotific way. This is definitely not LOTR. But he’s got some great tunes in here that seem loosely connected to certain feelings/ideas that reoccur on screen. As simple as they may be. This score is great. It bares repeated listens and is not as punchy as PoTC or even the Dark Knight. But I really enjoy it:
 
Dune “A Theme” Main Theme(?) Slower 8 note phrase (4 notes played lower on the scale with the following 4 up higher). Used for a lot of BIG moments.  EPIIIIC 🤪 When played faster it functions as a “B theme” of sorts. This ostinato version  plays under the slower version or plays by itself.
(Leaving Caladan-(1:19-1:39)”A theme”
(Ripples in the Sand- (1:10-1:35)(4:20-5:05) “A theme”
(Visions of Chani-(3:25-3:54) “A theme”
(Herold of Change -(0:00-0:26) “B theme”
(Leaving Caladan- (0:28-1:15) “B theme”
 
 Fate/ “The One” theme- more mystical/slightly sinister theme (similar to Commodus theme in Gladiator) Sometimes played as a “war cry” in regards to Paul’s destiny as a warrior/messiah. 
(Gom Jabbar-1:13-1:37)
(The One-0:00-1:40)
(Pauls Dream- 0:00-1:55)
 
Vast Mystery/Wonder Chords Some of my favorite moments in the score. Tends to communicate a sense of vast space and possibility. The most “space-y” sounding chords in this sci-fi score.
(Herald of Change-1:22-2:10)
(Visions of Chani- 2:28-3:10)
(Sandstorm-1:10-2:00)
(Stillsuits- 2:10-4:15)
 
Tragic Noble Theme-The most “classic Zimmer” anthem tune. Similar to his Bach-inspired theme from Dark Phoenix.Seems to be associated with the burdens of duty/responsibility/leadership.
(Herald of change- 3:08-3:45)
(Visions of Chani-0:00-0:37)
(Blood for Blood- 1:17-1:43)
(Holy War- 0:00-0:57)
 
Impending Doom motif-Bad things are gonna happen.Sounds similar to some of the evil monk music in DaVinci Code.Tends to start low and build in intensity.
(Bene Gesseret- 2:16-2:33)
(Burning Palms- 2:06-3:45)
(Holy War- 0:57-2:12)
(Premonition- 2:00-3:23)
 
Sorrow/Loss motif- Simple sad little tune. Usually performed by a female voice.
(Stranded-0:00-End)
(Blood for Blood- 1:55-End)
(The Fall- 0:30-1:00)
(My Road Leads…- 0:00-1:00)
 
Duncan Idaho motif-
Heard much more in the film itself. A Brief but noble DarkKnight/Man of Steel mashup sounding motif. But it can be heard on the ost in few spots.
(Armada-0:27-1:35) a tragic version with the “sorrow theme” on top
(Burning Palms-0:29-1:10) 
 
There’s a handful of textures and instrumentation used as part of his soundscape for different locations/peoples. Not hard and fast attributions. But in general …
 
Bagpipes- House Atreides. Tune appears briefly in “Armada” and then as source music.
 
Log Drum(?) riff-  Arakis stuff
 
 Whisper/chants - Bene Gesseret stuff
 
Deep Manipulated throat singing- used for a lot of scenes involving Sardukar or the Baron. 
 
Harkonon “screech”- strange manipulated shafar horn(?) pops up when Raban the beast is wrecking havoc.
 
Harkonon “clang”- rhythmic banging pattern often accompanied by the “screech” horn

Listening to Art and Soul now. Only on the second track (and they are loooong tracks). I am a sucker for his House Atreides material I must say. So the “Forward” track is a keeper in my book. Love that semi-Celtic tune.
 
But the cynic in me so far thinks this is essentially one of those YouTube videos where they slow down a song an obscene amount and it sounds like a “new” piece of music.
 
Edit: sooo… I couldn’t listen to the whole thing…at normal speed. It became very apparent that a handful of these are truly slowed down versions of some of the tracks from the Sketches album. I listened to “This is Only the Beginning” at 2x the speed on YouTube and sure enough it’s just a massively slowed down version of a chunk of the Bene Gesseret suite from Sketches. Same with “Caladan” which is a slowed down portion of the “Moons over Caladan” suite. Ditto for “Arrakis” and “Fremen” - slowed down portions of existing material from Sketches. Can’t say about the other tracks - they’re mostly sound design. 
Perhaps they are “new compositions” for this book. But too my ear it sounds prettty cut-paste-slowed down.
 
I know the intent was to give readers some background ambience and this was an easy way to do it and make a little dough on the side. But still…

Made a Hobbit cover for my custom edit to go along with LOTR covers I made a while back. Based off the artwork from the Houghton Mifflin publications.

Brand New(man) interview. Nice hour long interview where he plays the piano occasionally. Love this man’s achingly beautiful work. Somebody please give him an Oscar? Lol

Finished my first full listen (and currently in the beginning of my second). I’ll need to revisit it more to have some comments of substance. Perhaps watch the film again as well.
 
Just a few things that jumped out at me this time:
 
Introduction and Retribution: 
The increasing rhythmic scrapping that starts about 2:25 as the violence amps up. Really sets me on edge. I can see how it would pair perfectly with the captives finding the barrel of cane knives during their attempted escape. Hope we can get some “score restore” videos for these!

The Meeting of the Minds(Memories of Home) theme is so beautiful. I love it in all its iterations. So glad this release lets this theme shine more.
 
Which brings me to the heart rending 
Prisoner’s Song. Jay you mentioned one of the best moments of this score is a “non-thematic” one. Was this the one you refer too? It’s brief. But it cuts me to the core. I don’t know what it is about it. There’s something in it that makes me feel like it’s an evolution of the Meeting of the Minds/Memories of home theme (Anyone want to try and transcribe the two?) Where “Meetings” evokes their old homeland, “Prisoner’s Song” seems to elude to their new home and the African culture that will develop in North America. Religious Spirituals having evolved from traditional songs of their homeland. Wish it became a reoccurring theme. Damn is it moving.
 
Comparing the two versions of Tales of Horror, it’s interesting to see the two approaches. The film version seems to score the first half of the cue with a more paranoid vibe. It helps you feel Cinque’s perspective a bit more as he sits uncomfortably on the stand. Then it explodes into the “Dry Your Tears” theme backed by the choir as he summons the courage to speak. The alternate is flipped in it’s choral usage. The first half has the momentous choral building of Cinque’s theme. Heavy with sorrow. But then a more subdued version of the “Dry Your Tears” theme plays sans-choir as Cinque stands and declares “Give Us Free!” Id be very curious to see a score restore with this version.
 
The brutal Spanish Guitar strums that clash with the African instruments about 3:08 into The Crossing is just a master stroke of genius!
  
That’s all I got so far. I’m sure more will pop out as I revisit it again. Now. Back to Tomorrow Never Dies! 😃
 

Alternate cover I made for this new Hunchback release. Decided to alter the usual template for these to best utilize this stunning artwork.The concept art for this entire production is so gorgeous btw.
 
Too bad about the odd glaring flaw with missing music bits. But I’ve really dug hearing Menken’s whole score. And the demos are fascinating to hear. While sometimes they seemed to hit the nail on the head with the songs other times they really had to sand off the edges. (Its so jarring and funny to hear that alternate, more jazzy chorus in “Hellfire”)

@Jay you should give Gods and Generals a listen. Fully orchestral that one. Must have had a bigger budget. Edelman came back to work on it but it’s mostly a John Frizzel work. Massive massive score to an incredibly long and boring film. 
 
 

Listening to the musical commentary that Doug Adams did with theonering.net, it blew my mind when he said the opening melody that kicks off “My Dear Frodo” from Unexpected Journey was an iteration of the Sons of Durin theme. I always loved that tune and thought it had just fallen by the wayside with other ideas from Unexpected Journey. Glad to find it survived in some form in the other two scores. Shame it didn’t pop up one last time in its first guise to bookend the trilogy in the last film.
 
(0:00-0:37)
(3:07-4:00)
 

Fixed!

Had been a while since I listened to this one. And I’ve forgotten how completely perfect it is. It almost makes me cry. Truly a late era Williams masterpiece.
 
Sorry for the old thread bump.
(That is all)

Speaking of Rey’s theme. JUST listened to that alternate version mock-up.
Holy cow! What a fascinating treasure. 

I’d say the action music skews closer to some of the more contemporary action sound Horner was toying with in The Amazing Spider-Man (“Subway Rumble” comes to mind.) Horner’s take on the RCP sound. Also Franglen ran with that sound in a lot of the action tracks of  Magnificent Seven. Not sure if that was part of Horner’s original sketches/suite for that score before he died. It can seem a bit abrasive and a tad simplistic at times. But other times it really sounds like a contemporary Horner wrote it (“Navi Attack” is a ball-buster cue on par with “War” from the first film)I don’t believe Horner would have scored this film that much differently in all honesty. Perhaps his themes would have been a tad more  pronounced. The action a biiit more refined and mixed a bit clearer so it’s not so “wall of sound-y”. But I’d be lying if I said I wasn’t moved a handful of times while listening to this. It took a tad to get going for me. A little “nature documentary-y” at first. But it really starts to cook after the first third or so. It’s a great tribute at best and a decent standalone score at worst. I’m sure I’ll appreciate it more when I see the film.
 
PS- “Songcord” is a really lovely take on the new theme (family theme?) for this film. Sung beautifully by Zoe Saldana.  Maybe start with that first and then you can hear it develop throughout the score. Lots of great iterations of it.

Always think of this clip every time someone says the title!
 
This is also a good one when there’s an excessive amount of opening studio logos😆
 
 

Listened to it today. Haunting. Melancholy. Lovely. A great little score. And yes there’s a few action bursts that sound like they could be taking place in Middle Earth. 
45 minutes well spent. 

Hey! This is pretty cool. Made me want to both listen to this release and watch the film again. Mission  accomplished!
 
 @TownerFan Did LaLa Land ask you to put this together? Or was it just out of our passion for the man and his music? Fingers crossed you get to make one for the inevitable Indy score expansions 😉. 

 
 

Listened to The Perfect Storm for the first time in a while. There’s some terrific terrific music in that one. I’ve forgotten how much soaring action it contained (and how sad I am that he isn’t around to do Avatar 2). 
 
While it’s still written in his unmistakable voice, it doesn’t seem to directly lift from his prior scores. At least nothing really jumped out at me. High time for an expansion (along with Mask of Zorro!)

Always think of this clip every time someone says the title!
 
This is also a good one when there’s an excessive amount of opening studio logos😆
 
 

Always think of this clip every time someone says the title!
 
This is also a good one when there’s an excessive amount of opening studio logos😆
 
 

Always think of this clip every time someone says the title!
 
This is also a good one when there’s an excessive amount of opening studio logos😆