djc242

How come this news isn't on the main page?

MSM - Haha LOL , "good sound memory" is a wonderful euphemism for having ingested large amounts of Williams' music far too frequently.

Yes, I would like to stress that there is/was no money involved with this music - it was just an exercise. -Daniel

Thanks for the positive responses. Some appear more than once, so here's a list of the first uses chronologically: Superman "Krypton" Close Encounters 5-note "door chime" American Journey VI. Flight and Technology theme Jurassic Park "Journey to the Island" JFK theme Far and Away main theme Summon the Heroes (a bass line) Olympic Fanfare fragment Catch Me If You Can "The Float" fragment Call of the Champions Hook "Prologue" theme Empire of the Sun "Jim's New Life" Harry Potter "Quidditch" fanfare Harry Potter "Fawkes the Phoenix" Jurassic Park theme fragment Harry Potter "Hogwart's" Harry Potter "Family Portrait" Hook "flying" theme Star Wars "Across the Stars" Jaws motive Angela's Ashes theme Harry Potter "Hedwig's Theme" E.T. "danger" motive Seven Years in Tibet fragment Star Wars "the Force" Star Wars "Duel of the Fates" Harry Potter "Quidditch" B section Home Alone "Star of Bethlehem" Star Wars "Yoda's Theme" fragment Close Encounters "The Visitors/Bye/End Titles" E.T. theme fragment Superman theme Far and Away secondary theme Star Wars "Throne Room" Some of those are only used as supportive counterpoint, but they're in there. :-) -Daniel

bondo and K.M. - what are your emails?

Just posted a recording of an orchestra piece from 2003 that laced around 20 of JW themes together. This was an orchestration excercise and thought you all might like to hear it (although most of it was replicated by ear, goodness knows it violates a pleathora of copyrights - so it will never see real programming): http://www.myspace.com/emergingcomposer It should automatically play after a few moments of buffering. It'll be interesting to see what you all hear in it. Daniel

Anyone listened to John Eliot Gardiner's cycle with the Orchestre Révolutionnaire et Romantique (period instrument ensemble)? it's great and those instruments sound so vital - esp. the strings. When something usually says "on period instruments," it means "please excuse the foul sounds and poor intonation." Not in this case; they absolutely rock!! The set also comes with commentary from the conductor on the works (tempi too) and the composer, in three languages.

Greta - yeah I love the stuff the UNT wind symphony plays and it can be nice to be around so much jazz; I am originally from El Paso; what about you?

Jack - I was at school at the Univ. of North Texas (in Denton, TX - just NW of Dallas), so that's the orch. you heard; I do like the Matrix scores -the first being my fav. and a few unused cues from the second; I like the quasi-minimalist stuff in it

I think that is really interesting that two of the finalists post here! Very cool. As Jason said, these clips were all judged with the film clips playing. The orchestra at my university was the one playing the music.

Just wanted to share this with you all and to see what you think: http://www.turnerclassicmovies.com/2005/yf...ts3/0,,,00.html (mine's the first clip) ~Daniel Chan

Krosstj, I would generally agree with the previous suggestions. I would use more strings (4 Vlns., 2 Vlas., 2 Vcls., 1 DB, then a flute/picc., clar., hrn, piano, percussion, and depending on your needs, maybe an oboe/english horn, or another hrn or a tpt or tbn. ). The idea is that winds very easily overpower strings, so a few of those would be fine for the balance/blend. Brass can definitely overpower the strings. Best wishes!

As it's been said, I think what shows JW's craft is his ability to interweave the two styles so seemlessly. The concert suite from CE3K [JW Greatest Hits] is a fantastic example - kind of a retro-musical timeline [schoenberg to "When You Wish Upon a Star" to Strauss]. Almost any action cue from Star Wars or Indiana Jones [see "The Pen is Mightier Than the Sword" around 1:21] also uses both musical dialects. As a composer myself, I like to keep all musical styles available, should they be required. For film scoring, that is far more important due to the constant flux of things. All tonal music is not "good" and all atonal music is not "bad," assuming those terms weren't subjective. How a composer handles their craft is the most important issue, I think.

I will be giving my senior composition recital at the Univ. of North Texas on Oct. 16th, 5:00PM (College of Music Concert Hall). A fanfare for 8 trumpets begins the concert, followed by a symphony in 6 movements for a 65-piece orchestra. The symphony is based on 6 stained-glass windows deigned by an artist friend, and they are really beautiful. The piece is nearly programmatic, and will hopefully show some Williams influence. If anyone is interested, please send me a message! ~Daniel

I met him at the 20th Anniversary Premiere of E.T. in L.A. at the after party. He did not stay long as several people were crowding his table and not allowing him to talk with his friends. He was very polite as I told him that his music inspired me and that I was now studying composition, hoping to do film one day. He "gave me his blessing" so to speak and then put his arm around my shoulder for a photo (that did not turn out due to darkness!! damn my photographer!!). I'm not bitter, really. I also saw him in concert at the Horn Concerto Premiere in Chicago. I'm planning on a trip to the concerts in D.C. next year.