nja

Thanks for the leads. I'm sure one of the possibilities will work out. nja

Found a connection in Kenya and decided to appeal to the British constituency of the MB for some info. . . I will be in London from August 15th through the afternoon of the 18th and was interested in what concerts might be happening around then. In this instance, going for the more classical side of things- opera, piano, choral you name it. Any ideas or links? Thanks for any help in this regard.

Watching Goldeneye again recently, I was reminded of how different Bonds fit their eras. Sean Connery defined the franchise, but I can't imagine his laid back acting style working as well for the later films. Brosnan actually manages to come across believable as a post Cold-War secret agent while maintaining an element of the British flair. His shrewd intensity actually works well in today's cinematic style. I think he has been just what the franchise needed at this point.

I, for one, could think of better projects for him to be working on.

Close encounter with a T-rex.

It would seem that Brosnan and Connery must not get along or something. I would love to see eveyone get together. Is there not potential for a TV featurette at least?

I have always wondered if there was a picture of all the Bonds together. Surely they must have Bond reunions or something.

Not sure about extended score editions, but it looks like we'll be waiting until December for the extended (complete) edition of ROTK.

It's also on the main page. A sad day.

Farewell to one of the all-time greats. RIP

The film does drags on at spots. Contemplating Williams' naming of this as his favorite of his own scores, I have always surmised it is for two reasons (besides being masterfully written): 1. The 20th century techniques used in much of the score- perhaps closer than any other score to the style of his concert works. 2. The way in which the score is so tightly integrated with the film and plot line. As THX-TLiJ mentioned, the last scene is brilliantly conceived from a cinematic perspective (even if the basic premise of the film is somewhat dubious from the start).

Ain't that the truth. I pity the poor soul who has to follow Prisoner of Azkaban.

Alexander Nevsky first with CE3K in a close second.

I just don't get it. A couple of morons make some dum comments and everybody's running around with a "nobody loves me" complex. As if leaving the message board in grand style teaches everybody a lesson about being nice. It only shows the rude posters that they actually got to you. Because they thrive on attention, getting upset about what they wrote gives them just what they want. They're children. Ignore the childish things they say and talk about the stuff that matters.

Watched the Patriot last night. Nice score, good movie, and no, I'm not being sarcastic.

Surely if you are stretching the word "classical" to include Renaissance and Baroque you have to include 20th century as well. The word either means the period (roughly 1750-1827), or ALL art-music. You cannot pick and choose which art-music to include through personal preference. Right on. The word classical is used in different ways.

Hey Pixie, you should start a new thread called The Harmony of JW's Music or something like that to talk about this kind of stuff.

I do like Goldeneye. The tank/ car chase has some great moments and there are some really memorable lines.

Not trying to be argumentative but I am interested in this (whether it matters greatly or not). It does come down to whether or not the C#/Db is present, but I think it is there in the wind parts. It's especially noticeable on the descending runs. I know it's more of a scale passage than a block chord, but IMO it does affect the harmonic context of the chord. I think if I had students analyzing the score, I would want them to notice that, but I probably wouldn't count it incorrect if they had it as a borrowed- I dunno . . .

If that's what it takes, so be it.

How sad, nja. You're so transparent. This thread makes you feel so confident, doesn't it. It's making you confident enough to start calling me "annoying" whenever you feel like it. It's right up your "elitist" alley, mister. Is this the common attitude found in "your circles"? How sad. ---------------- Alex Cremers I rest my case.

Sorry to be such an annoying know-it-all but the chord you are refering to isn't an augmented 6th. The flat 6 is there but not the raised 4. The chord is actually a flat-VI 7 (borrowed) over a pedal V. Welcome to JWFan. I'm not always this annoying BTW. Pixie Annoying? Compared to AlexCremers or JoeinAr, you're still working on bothersome. . . . but I do find myself agreeing with Bowie here. In the key of G Major, you have an Eb, G, Bb, Db which would spell a German 6th chord resolving to a V. Though G6 chords often resolve to 2nd inversion I chords they also progress to root position V (haven't figured out how to do superscripts on here). My apologies to John for moving one step closer to truly annoying.

Technically, yes but applying that consistently to countermelodies and harmonic lines would classify virtually all 20th century music as counterpoint. I guess everyone uses the word differently, but in my circles, I don't often hear the term used for "Raiders March" and those kinds of examples. I think that would generally be called melodic imitation or overlapping themes. But I would agree that by the broadest definition, almost all good writing contains some contrapuntal elements.

It is different (and most of the examples mentioned on this thread would not generally be called counterpoint.) But hey, let's not crash the party . . .

Chill ? !