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Everything posted by karelm

  1. Would I be breaking the rules of this thread by suggesting a non-score work like his early jazz music such as this? I find his style to be filled with bittersweetness. Part of the dominant 7th that he uses so often in his harmonies is that the dominant seventh chords contain dissonance between some of the intervals. For example, in Superman, a very melodic score, there are tons of major and minor 7th chords, and 6th chords. To me, these introduce bittersweet elements because you don't get pure major harmonies, you get dissonance and frequently. It's part of his style. It's all over Star Wars for example. This adds much more interesting colors and flair to his music because of the rich harmonies but it also gives his scores a somewhat bittersweet feel (like the lovely soft music in Jaws). I love that quality and complexity in his music but that makes it difficult to find a score that doesn't have some element of this jazzy bittersweetness. You might have to look for his earlier pure jazz stuff. I don't think he's full of angst who would write in full on clusters like early Penderecki or Ligeti, but rather there isn't really lightness in him...he's complex. Like an aged wine that operates on many levels, anything someone sees as "light" from his music, probably has some underlying sophistication and complexity. It probably isn't what it seems. Superman Theme by John Williams Chords, Melody, and Music Theory Analysis - Hooktheory
  2. This score is fantastic and really deserves more love. I think it forms a sort of quasi sci-fi/fantasy trilogy in Horner's early oeuvre which includes Star Trek II: The Wrath of Khan, Krull, and Willow...each of which are masterpieces. Don't get me wrong, there are other significant early scores like Aliens, Field of Dreams, Cocoon, and Glory, etc., but those are different genres. Similarly, Horner revisits the genre later in his career like in Avatar, but that is late era Horner. I lump Khan out of pure sci-fi and more in allegory like Moby Dick (it just happens to take place in outer space, but Horner brilliantly makes this a fantasy sea faring score with countless naval allusions). Krull is arguably Horner at his most Star Wars/swashbuckling vein. I am so thrilled to finally own this score; it makes me want to revisit the film and remember the memories of seeing it in a theater all those years ago. I think this would be a score well served by live to picture since the score is 90% of the film experience.
  3. Aww man, she was very nice and the head of ASCAP for many years. A sweet and gentle soul full of talent. RIP.
  4. I hadn't heard it before now but enjoyed it. Reminds me of Howard Hanson. Thanks for suggesting it. Harp is a gorgeous instrument.
  5. You're drunk again, Bespin.
  6. I doubt it too. Remember Adams grew up in the 60's where tunes were very much out of fashion compared to the avant garde. His musical style was a rejection of the academic trends of his time plus his early influences were pop and jazz. His dad was a jazz musician and Adams started as a clarinetist in local school bands and community orchestras where he had a love of the 60's pop and jazz. I really, really don't think he has anything negative to say about Williams since he's also seen as a populist hack in classical elitist world because his music is very popular and tuneful.
  7. Thanks, man! Harp is a lovely instrument. You might enjoy this harp excerpt from a work I composed 10 years ago. I was feeling a bit nostalgic as the piece had some importance to me and now is the anniversary, I've been revisiting it. Here is some of the harp excerpts from the symphonic work. I was very lucky to have access to wonderful harpists in my orchestra. Sometimes even having two excellent harpists so at times would revise works for two harps! These lovely textures are mostly buried beneath huge orchestral tutties, but I really believe they provide an important part of the orchestral texture. https://clyp.it/gcilqogb
  8. This is the finale of a 45 minute orchestral suite I composed in November and December. I posted part 1 of the suite earlier in this thread back in Nov 12. KEF - Clyp
  9. I played next to Jim Self in a symphony orchestra concert. He was such a sweet man with a gentle and modest spirit. I loved talking to him about Close Encounters and other projects in between rehearsal minutes but was so much fun just performing next to him. I think we were playing Prokofiev's Romeo and Juliett or Mussorgsky/Ravel's Pictures at an Exhibition? I can't remember which piece it was but both with massive heavy brass moments with that orchestra. He frequently mentioned Tommy Johnson as did John Van Houten (another studio tuba player). Tommy's legacy is far and wide as he taught so many of the new players who in turn are teaching the current players. Though I'm not a tuba (I'm a bass trombonist), I joined Van Houten's tuba studio one afternoon with maybe 9 tubas, and me. Many of them were advanced high school students and it was a wonderful experience. Sort of the closest I got to studying under Tommy Johnson by being in a tuba class with his student. Most of these people are also concert performers. Jim Self and Jim Thatcher are both in local concert orchestras. I'm sure the others are as well. By the way, I attended all the rehearsals with Jim Thatcher on JW's Horn Concerto when it was performed by USC Symphony in 2008. He was very stressed by performing it and found it quite difficult but performed it brilliantly. I so wish that concert was recorded. It was AMAZING!!!!
  10. I was a student at USC Thornton School of Music when his mom died. She was very old, late 90's, and she had "never been sick a day in her life". Bodes well for longevity.
  11. I've found the documentary to be endlessly fascinating. It's hard to imagine the pace that these events unfolded and how young they were. I think George Harrison was only 26 or so during this documentary (he could pass for 40) and Ringo and John were both 29. Kids. But definitely puts a different context to the stories of what all was happening at that time. Fascinating documentary.
  12. Hi folks, I need some thoughts on this topic. Some of you might know that I'm a professional musician but my sister is not and is asking about James Horner scores. She mentions Braveheart as wonderful example of his talent, but I'd like to give her a play list of how fantastic a composer he was and am seeking playlist guidance for someone not as familiar of how to explore his scores. I was thinking of suggesting these scores in order but what are your thoughts? So ignoring some of his super popular music but focusing more on the "sticky" music he composed that for me at least is just so fantastic, I can't get it out of my head once I hear it. Is that a wrong approach? Your thoughts? So my playlist would be something like this: Star Trek 2 (1982) Krull (1983) <- so so film but great score Star Trek 3 (1984) Cocoon (1985) Willow (1988) The Land Before Time (1988) Glory (1989) <- FANTASTIC MUST WATCH FILM The Rocketeer (1991) <- FANTASTIC MUST WATCH FILM Page master (1994) Legends of the Fall (1994) Braveheart (1995) Titanic (1997) <- musically the score is average but it’s James Cameron’s best film and a great song but average score. I’ll rank this with Troy, it serves its purpose well but that’s all. A Beautiful Mind (2001) <- FANTASTIC MUST WATCH FILM Wolf Totem (2015) <- Wonderful score, the year he died
  13. This is one of my favorite classical discs I've ever owned. Perfection.
  14. I liked it! Would sound great with a live orchestra. Your inspiration from Shmi and Anakin's Dark Deeds are noticed structurally which is fine, but they are subtle enough that it wouldn't be noticed had you not called it out. It would have sounded like a sci-fi/fantasy trope which my suite does as well (as did those we are influenced by). I like the idea of you composing music based on a friends story. Artist inspiring artist.
  15. Yes, that and the gritty Star Wars 1313 which was far into development but was cancelled after LucasArts was acquired by Disney and they began making Battlefront instead.
  16. I don't know. Maybe there is a clear vision for Star Wars and that's towards episodic tv like Mandalorian and less of the big theatrical films. That series is excellent. So what if it ignores ST, it takes place before that. But clearly there is a path where disney can respect the fans, but deliver solid and contemporary new content too.
  17. Yikes, it's been 10 years since my old video game was released! They're updating the cinematics to 4k for the 10th anniversary.
  18. This was a very popular cue during it's time. In fact, I think it was the B side of the single if I recall correctly. For those of you not old enough to remember, there were Long Play (LP) albums but also singles which were far more popular but topped out at 4 or 5 minutes. I recall this was the other side of the single. It was a VERY popular track. I personally prefer The Asteroid field due to its superior virtuosity but "here they come" was mind blowing in its day. It was a unique action set piece. The big shoot out in the salon.
  19. Thanks mate! That's exactly it but it's a band of space travelers (Guardians of the Galaxy type of thing).
  20. This is part of suite I am working on. Just a little overture. KE_Neb - Clyp
  21. Do we know what music from Return of the Jedi was supposedly composed by Fred Steiner? Was he just another orchestrator or was he actually composing? The best evidence I found was just John Morgan saying he was an assistant to Steiner at that time and peaked over his shoulder to see Return of the Jedi sheets. This doesn't mean he composed it, just that he was involved in some way and wondering if we have better evidence.
  22. The EMI Karajan Sibelius is so great. But I haven't heard the DG other than the Violin Concerto and No. 7 which I think are also fantastic. HVK was a great conductor like Bernstein and Stokowski. Anything they did is unique and wonderful. Might not be authentic are true to the score. For example, NEVE pre-amps are fantastic, but they color the music. There is a "NEVE" sound. That is big part of what people call the Abbey Road sound. It's the vintage pre-amp used for those classic recordings. They don't really exist any more because those vintage tube amplifiers are now digital copies. I've used vintage NEVE pre-amps and they sound fantastic and nothing like their contemporaries but they do color the sound. In my opinion, in a a positive way. For example, it adds depth and presence. It's very hard to explain to modern listeners because most of these frequencies are removed through compression so you never notice it in the first place. 95% of people don't hear any differences with compressed audio so this topic is only for the 5% who do notice. That's the same as 95% can't tell the difference between $10 wine and $10,000 wine. A very small group of audiophiles do notice and do care but almost no one else does.
  23. I love and agree with nearly everything in your post. The coda of No. 4 and 8 are my favorite Bruckner (along with No. 9). And I've been lucky enough to experience the entire Ring cycle performance which was mind blowing.
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