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About karelm

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    Futuristic dinosaur

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  1. I love ROTJ but hated the yub-yub stuff which I don't think is in the the SE versions.
  2. I had one of those as a kid and loved it so much. Yet another thing JW and I share in common.
  3. Also important is context. Our ears can make sense of dissonance depending on how we get there and what the pedal (C in low strings) is doing because that implies a harmony.
  4. I think you might be right. I revised the OP to reflect this.
  5. I believe Murphy's first day with the LSO was Star Wars 77. David Cripps (principal horn) and team looked at each other and were all like "wow, holy shit who is this new kid?". They loved him and David was so joyful when I asked about Maurice, he lit up in recalling his late friend. These guys also have wicked humor that is best heard from them the way they hazed new or diva maestros. I've heard this by multiple A list orchestras. Here is an example. There is a very exposed passage in Richard Strauss' Also Sprach Zarathustra where the principal trumpet has an exposed high octave leap (see video). They would always miss the octave and play a 7th or a 9th...anything but the octave causing his colleagues to worry if he'll miss it. The truth being every pro trumpeter has played this a bazillion times and was just toying with the nerves of everyone else, Once everyone realizes they've been played with, the joke is on them without a word being said. That is very funny pro musician humor and an example. Yes, they'll bring their A game during a concert or session but this inside joke is a very funny example during a rehearsal of the inner world of pro musicians and LSO has lots of those examples. Sometimes the jokes are section specific. Sometimes the whole orchestra is in on the gag. But frequently no words are exchanged.
  6. I'm an old school ST fan (OT is best, was in high school/college during TNG) so prefer the Roddenberry version rather than the Rick Berman or JJ Abrams ST. Anyway, I don't have access to Picard, is it worth seeing if I'm an old school ST guy or not worth it for someone like me? I'm a little confused about these newer series that aren't on TV but rather some subscription service which I still don't have.
  7. Yes exactly! This would have been so perfect without those sampled birds. Gorgeous cue. Clearly no contribution to this thread and very stupid posts like this.
  8. Wow, that's a fascinating example from a score and film I know nothing about. Thanks! Yes, exactly! To me, they even sound like maybe tuned percussion plus harp + celesta + piano in their instrumentation. Very ambient, textural, and sort of hit "pause" on the story for the character to work something out. It's a fascinating example of what makes JW unique. Very fine example! I am finding I REALLY love this style of JW. It's extremely impressionistic, I wish he would do something quite long in this style but your Amazing Stories example is so gorgeous! I did something in this style in one of my own works. An interesting example. I consider CEOTTK to be JW at his most transcendental (transcending from fear of the unknown to awe) and I'm sure I already made a thread about transcending cues of which the finale from this film is my #1. A good idea for a thread if it doesn't yet exist but correct, mine isn't so much about religioso which lets agree JW excels at. I'm sorry that esoteric is so difficult to define but people seem to get it and are offering fantastic examples of cues I've never heard of which reinforces my belief that JW is the best composer of esoteric cues but I'll leave it for someone else to define exactly what that means because I've tried repeatedly in this thread. I know the cue, but is NOT what I'm referring to but is a gorgeous cue. Mine is subtle and might not even be thematic (though in the Superman Fortress of Solitude example, motifs are heard on top of the esoteric style stuff). From the examples of this thread, I really believe this is a style JW is so excellent with and probably unparalleled. I would like to put my finger on what is going on when he does this sort of thing but it is so difficult to even define this! I really think this is part of his brilliance is that he can hit the pause button with cues like this and link it to the grandiose moments to follow. Far and Away is a perfect example. The big fanfares and brilliance we expect are very much reserved for the final 10 minutes. Generally the same with E.T. (except for flying over the moon). JW has a large scale sense of drama which is very rare. Who else does this as well? Zimmer not close. Herrmann as brilliant as he was didn't do this. Neither did Korngold nor Goldsmith nor Steiner.
  9. Well, it's not easy to define music in words. I don't think spiritual quite captures the meaning because to me that would be more like that religioso ending of The Last Crusade. How would you describe that music in my original post? I don't think it's spiritual but it does have an introspective thoughtfulness to it and in some cases it bridges acts, like a passage of time where the character is deep in retrospective thoughts and on the verge of accepting or fulfilling their destiny. I know, right? He's an excellent chameleon of an actor! LOL, fixed. Yes, awesome choices! And I must confess...never heard Stepmom before!
  10. These are examples of what I think are very gorgeous though unusual cues in JW's scores which I struggle to define as anything other than being "ethereal". They are usually transitional moments in the films like when Tom Cruise realizes he's in love with Nicole Kidman in Far and Away or when Clark realizes he's Kalel. I felt I heard these moments frequently in JW scores but never something like this from another composer. Yes, yes, he'll through in a motif to remind us of a character or something but these are generally quite abstract and unique thematic experiences within the film generally being esoteric. Esoteric is generally defined as being somewhat spiritual or someone gaining wisdom through a spiritual or undefined personal transformative experience. Is JW the most esoteric composer or is anyone else better at these moments in film? What do you think of this type of scoring? It isn't thematic but is quite interesting and distinctive. No one else seems to do this sort of thing. Any other examples? What do you think of it? Boredom and phoned in writing or example of brilliance or something else? EDIT: Thor made an excellent suggestion that ethereal might be a more appropriate description of the mood these cues reflect and I agree.
  11. I thought better than season 2. Like all previous versions they mix other topics like the episode with Seth and Viggo was a tragic story of a Soviet era scientist. The point wasn't about the science but the sacrifice he made for scientific and moral integrity so it covers history, philosophy, art, social topics, and science like the others. None did this as well as the Carl Sagan series but there are definitely lots of interesting segments and conclusions.
  12. Of course I did. I really liked the music too. The animation (sometimes very high quality claymation) and voice work was quite good featuring Patrick Stewart, Seth Mcfarlane, Viggo Mortensen, etc. But it was very subtly done so even when they were introduced as episode guests, I thought they would be on screen but never caught where and how their voices were used during the episode. It's very CGI heavy but I always felt the visuals were imaginative and very high quality. Some episodes were listed as written by Carl Sagan which of course is super cool. Tyson overacts but it doesn't bother me that much. It's generally obvious they're in a green room but sometimes they blend it nicely with live action. I really loved the episode about the Sacrifice of Cassini because of multiple personal connections such as meeting the Cassini team, being at the NASA JPL mission control, loving the elegiac score, and knowing some of those scientists and their personal connection with Carl Sagan and Voyager 1 & 2 without them ever saying so. In short, it's a multi layered show like the original. Those who are new to the concepts will get something out of it just like those who already know this stuff but it might not be the same take away.
  13. I see what you mean, there are some similarities, but they are general. For example, this and Rey's theme both start in the same key of A minor and have the opening harmonic progression in common so we already are in the same harmony but harmony and harmonic progressions are not that unusual. For example rock songs commonly use the same chord progressions. That is why you can't copyright a chord progression, they are part of what's called the vernacular (the common way most people use words). Similarly, both Saint-Saens and Williams are using melodic tropes...conventions in phrasing, melodic repetition, etc. To me, JW has some French influence but it is more by way of the English. For example, the great English composer, Ralph Vaughan Williams studied with the great French composer, Maurice Ravel and this cosmopolitan French/English influence is more detectable in JW by way of American mid century Jazz (itself very prominent in French music) and Russian music (Prokofiev especially).
  14. I actually came to understand this from the 1933 film which was on TV this weekend. Carl Denham (Jack Black) realized this was a Beauty and the Beast parable where the beast was obsessed with the beauty resulting in his demise. Kong's obsession with Ann Darrow resulted in his demise. That is the opposite of Jackson's 2005 version where the Beauty was obsessed with the beast so the line made no sense.
  15. My favorite set piece is the collapsing roof sequence with all those bugs from TOD. Excellent musical cue, very funny scene, very exciting, and I don't think I've heard anything quite like this from JW elsewhere. It's always one of my favorite set pieces for that film if not a top 10 favorite from the franchise.
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