indy4
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Posts posted by indy4
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Yeah, but we don't know when that'll be released
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Thanks! No no specific piece in mind, just wondering.
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this is really great...we have at least 3 new JW works where we could get recordings any day now. Conversations, this brass piece and now the piano/orchestra scherzo. I think we're in a Golden Age of JW concert music.
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Another question, this time on figured bass: if we have a bass line with a b5 or #5, what does that mean? Obviously the 5th above the bass will be flatted or sharped...but is the chord a triad in root position, a seventh chord in root position or a seventh chord in first inversion (since they all include an interval a 5th above the bass)?
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Thanks Ludwig!
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Bumping this...
Question about inversions: if you were harmonically analyzing a piece of music with an arpeggiated bass line (let's say in sixteenth notes), I'm guessing you would NOT say that for the first sixteenth note a chord is in root position, for the second it's in first inversion, etc... would you just determine the inversion based on which note in the bass is first? So if the first note in the bass is the root the whole thing is in root position, but if the first note is the 3rd the whole thing is in first inversion, etc?
Does it change if there's a repeated note in the bass line, but it's not the first note in the line? IE if the chord if C major, and the bass line goes G-E-C-E. would it be in third inversion or second?
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Question about inversions: if you were harmonically analyzing a piece of music with an arpeggiated bass line (let's say in sixteenth notes), I'm guessing you would NOT say that for the first sixteenth note a chord is in root position, for the second it's in first inversion, etc... would you just determine the inversion based on which note in the bass is first? So if the first note in the bass is the root the whole thing is in root position, but if the first note is the 3rd the whole thing is in first inversion, etc?
Does it change if there's a repeated note in the bass line, but it's not the first note in the line? IE if the chord if C major, and the bass line goes G-E-C-E. would it be in third inversion or second?
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Is this the oldest JW sheet music excerpt we have access to?
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Y'all, it's gonna be info on EotS. Jay already alluded that it's coming soon in the other thread.
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Nothing new info-wise---but wow, does he seem energetic!
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Interesting. I definitely don't think JW meant to plant the seed in 1977, but it's possible that when attempting to write a new theme for Vader in ESB, he searched through the original SW score and extrapolated. To be honest, I doubt even that was intentional, but that doesn't make hte interpretation less valid.
Interestingly (and this might be what you mentioned in the OP), the last few seconds of the end credits of ESB feature a similar sequence, which in my view is definitely an intentional reference to Vader's theme.
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1) Phantom Menace
2) By Request - Best of John Williams and the Boston Pops (the one that started it all)
In no order (since I don't remember):
- Jurassic Park
- Last Crusade
- Empire Strikes Back
- Charlie and the Chocolate Factory (Elfman)
- Star Trek II: Wrath of Khan
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I'll be there!
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Cannot wait to read this over the summer! Thanks Ludwig and Dr. Audissino.
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ET is kinda the opposite. It sets up the mood well, but it doesn't represent the rest of the score very well (which is not what it tries to do)
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Jurassic Park
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I really enjoy this first piece. As a trombonist, there's some really juicy parts here. The first movement, which JW reused in The Fury, reminds me a bit of Shostakovich's 5th symphony.
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And the concert arrangement of Jim's New Life (found on Williams on Williams).
That piece could really use a re-recording at a faster tempo
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Cool! I'm guessing JW made the arrangement? This would be his third time.
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BTTF Part II?
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Yes I think that's it. I've been fooling around on the piano and the Vsus in itself doesn't seem to be the problem...I can think of dozens of uses of it where I don't mind (ie the piano version of With Malice Towards None). But when I play the chords as Ludwig has described, that's when it starts to bother me. I think it also may have to do with the string-heavy instrumentation...just seems like a cliche, especially in RCP-type scores. I wish I had the knowledge and vocab to articulate exactly what bothers me, but I think it definitely is very context-dependent
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Even for a blockbuster film score, this is surprisingly unoriginal. I'm on the 7th track right now, and more of it seems to be temp-inspired than not. Mostly Copland, but also some Bernstein, Bryant and Goldsmith.
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Hmm, like when? Is that it at 2:23 of "Dartmoor 1912"?
Questions about Music Theory Thread
in General Discussion
Posted
Okay, last question of the night I promise!
Does it change at all if it's 5b or 5# (with the accidental on the right of the number)?