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Falstaft last won the day on November 8

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  1. Heh, I've was just transcribing this stuff today for a little project! The Doyle similarity with Ailing Triceratops: yes, that's definitely deeply temp-track influenced. Though the two cues stand on their own to my ears. (The triceratops music is also a prefiguration of the War Horse theme in some respects, not sure anyone has remarked on that here before...) As for the March to the Visitor Center/Battle of Agincourt passage, that I don'thear. The Williams sounds like, well, Williams -- we all can list other stern minor-mode themes like this from his output, well before 1989. I'm not sure it's Walton derived either, though other JW figures of this sort, his fugal march topic I guess you could call it, certainly do refer back to WW, Spitfire Prelude & Fugue and all...
  2. Oh, who am I kidding. Here's a first pass. Corrections welcome!
  3. Normally I'd be racing to transcribe these themes, but I feel more like just relishing them right now. I mean, "Mother and Son" -- wow. How lucky we are! BTW, that's almost certainly a self-reference to "Out to Sea" from Jaws a little bit into the last track, right?
  4. Magnificent, thanks for sharing! There's a lot to dig into in that Prelude, isn't there! And afterwards, fascinating to hear the difference in tempi and approach between Gloria Cheng and Lang Lang. I have to say I much prefer Cheng's take.
  5. Uhh... Seems perfectly fine to me. In, fact some of these arrangements are quite impressive, even if they're not note-for-note conversions of the orchestral score to piano music. Sure, blatantly wrong pitches do bother me as both a piano player and--like most of us--a walking encyclopedia of JW music. But I don't think errors are nearly as prevalent as some of you are making them out to be, either in official or unsanctioned arrangements. In fact, some of the piano folios are remarkably good: TROS, for example, is phenomenal. With this particular video, even hearing those chord tones being played in tandem with the main SW theme, you still get the syncopated feeling of the whole w/ the correctly rhythmically offset bass notes. The effect is correct, and it's more pianistically idiomatic this way anyway. Certainly, it has more than "nothing to do the original score." Frankly, there's a weird amount of hyperbole going on in this thread, on both sides.
  6. It's very beautiful. And small scale -- the closest thing to a chamber score Williams has written in a long time.
  7. I have it on good authority that, besides the presence of piano, the teaser's music is unrelated to JW's music for the film.
  8. It's not just the rubato that makes it fun but tricky to transcribe, but the metrical flexibility. I think the first, most provisional statement of the theme alternates 3/4 and 4/4 for a bit -- gives it a kind of tentative, finding its way quality, don't you think? What do you make of the figure that he repeats and sequences starting at m. 10 -- could it be a very, very distant cousin of the main motif from the Raiders March, the way it spans a rising 6th and then repeats a step lower?
  9. Wow, @Ludwig, we are possessed by the same need to transcribe, aren't we! Here's my own attempt, just of the opening first minute and a half. We can compare notes, literally!
  10. Can you imagine being this animated and full of joy when you turn 90?
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