MikeH

It’s not the exact same material, it’s JW rewriting the temp (which definitely is AOTC) but altering it a bit. The lines composed on top of the celli arpeggios are very different from the original recording.

At 0:58

I think JW’s danger motif is his sequence of minor chord + same minor chord and add a flat 6 on top.

This is fantastic! I’d go nuts if we ever got Tomorrow Never Dies

It was somewhat interesting to hear the drier mixes on the Prequels, but these three scores really do sound better and “bigger” with the healthy amount of reverb they were originally mastered with.

Thanks Jay. I’ve compared both the ‘99 OST and the 2018 release and the timpani shifts position on both. At 3:13 it’s on the right and 4:04 it’s on the left. I listened again and those two solo moments for timpani are the only time I really hear timpani in the piece. Mostly I hear the ritual/tribal drums (or whatever he labels it in the score). It’s possible they could have recorded those isolated timpani moments at a later session and then panned it wherever they wanted to when they patched it in.

John Williams whistled the themes and Herb Spencer wrote the score! Confirmed!

Perfection!

@crumbs I’d like a version where his foot replaces his head please

Perfect! This’d make a great fifth disc in the upcoming Sleepy Hollow release

@ragoz350 did you use notation software or sample libraries for that mock-up? Sounds great!

I always thought the main title would have made a great addition to the pieces JW recently reworked for Anne-Sophie Mutter.

Hi Blondheim. To put it very generally, I would say pre mid-70’s Barry was much more jazzy and unique (in regards to orchestration). Late 70’s through the end of his life he really settled on a very definite orchestration that fit his style. Violins would play the theme, horns and trombones played the chords, and celli and harp played a counter melody. Again, that’s a very general way of categorizing it as there are outliers in both of his different style periods. I think above all, Barry was very focused on melody and harmony. Apart from the Bond films, he disliked “Mickey mousing” aka scoring the action precisely. As Nic Raine once put it, Barry would just write a piece of music and things would sync automatically. He was more concerned with the mood and feel of the piece with how it related to picture rather than how fancy or dense it was compositionally or how it “hit” the action. Here are a few additional pieces which might help you decide which direction to go in. The Knack (1965) Deadfall (1968) On Her Majesty’s Secret Service (1969) The Deep main title (1977) High Road to China (1983) The Specialist (1994)