OrchDork

3. 5. No idea about 10!

This pretty much sums it up. As for the picking of keys question from the original post, I suspect that JW is very mindful of this sort of thing, picking tonalities based on aural (color/mood) and instrumental considerations. I'll add that I doubt it's much of a conscious choice at this stage of his life and career - he probably gravitates toward a tonality naturally.

There was an article a couple of years ago that said Williams had "his Steinway" shipped to his cottage in Massachusetts during his summers there... http://www.berkshirelivingmag.com/John-Williams-Tanglewood-Clarence-Fanto-August-2010

Randy Kerber does practically all of the synthesizer programming for Williams - meaning the actual synthesizer parts ("Synth Celeste," "Synth Bells," etc.), not the material in Munich and Memoirs from the Magic Box folks. I actually had a conversation with Kerber about this, back in 2008; he said that Williams writes out the type of sound(s) he wants in the music and that he (Kerber) then crafts the sounds with Williams' approval. I wish I had had more time to chat with him about that...

I had a conversation with Randy Kerber (Williams' principal keyboardist) about this and his work on Williams' "Harry Potter" sessions a few years ago, actually. He told me that Williams uses a synth celeste so that he can get rid of the 'hard attack' that a real celeste has. I can't recall what synthesizer Randy used for those sessions, unfortunately. He mentioned using the same synthesized celeste for "Home Alone," "Hook" and "Jurassic Park," too. While I'm writing, a funny little story that Randy shared with me: he got the music for the first "Harry Potter" sessions ahead of time (I think he said he had one week) and practiced the music in "3." Of course, when he got to London, Williams said to the orchestra, "Alright, we're going to do this in '1'," and Randy muttered, "Oh shit." I'm sure he nailed it, because he's a fantastic player, though I would have a mini-freak out if I was in that position, too!

Joey225 pretty much nailed it. I'll add one other point: in Hollywood, the players are expected to be able to play anything - such that they're equally comfortable with both extremes of the instrument's range. Traditional voicings (where 1st and 3rd horns are high, while 2nd and 4th horns are low) are rarely used, simply because the players in LA can do it all. In particular, with most film orchestral setups, you'll have an average of 6-8 horns, so the traditional voicing really serves no purpose. I believe that Williams himself uses the more 'modern' voicing on his concert works; and, both Herb Spencer and Conrad Pope do (did) that as well for his film scores.

You're welcome - I'm happy to provide some input.

The issue of slurs stopping at the first note of a tie also bothers me, though I have a suspicion that it's more of just a way of avoiding collisions with staves/notes above or below the staff with a slur. In many cases, handwritten orchestrations will have the slur only go to the first tied note, but when parts are copied, the slur will include all tied notes. The performing musicians' parts being perfect is the top priority. When using Finale or Sibelius, the "complete slur" practice is the convention when creating full scores (and, of course, parts) in Hollywood.

While the low instruments do have vastly different timbres, an orchestrator can guess which ones are appropriate, depending on the style and scope of the passage or cue. Williams will make changes on the stage as well - so it really is all his work. Remember, too, that Williams and Pope have been working together for close to 20 years at this point, so I'm sure a short-hand has developed. Plus, there's an invention called the telephone which I'm sure would alleviate any questions Pope may have...

You've pretty much nailed everything as far as Williams' sketches go. I'll add that he sometimes uses 10-staff sketch paper for more dense cues. Conrad Pope (and formerly John Neufeld, Courage, etc.) uses varying orchestral manuscript paper (mostly depending on the size of the ensemble for the cue and if there is choir). I believe that magical_me is correct: basso signifies tutti 'bass' instruments. In the realm of Hollywood, Williams is the only composer who currently works this way - with his sketches going to his orchestrator(s) and then off to the music preparation office to compile the parts for the sessions. Other composers who are similar are Christopher Young (who used to sketch at the piano - he now hums into a tape recorder - and his assistants orchestrate his cues based off of his directions, and then mock them up) and Joel McNeely (who sketches cues in a very similar way to Williams, then has an assistant mock them up). I know of other composers notating themes, harmonies and more dense passages on paper and then playing them into the computer, but most don't even do that. Almost every composer plays their music directly into the computer, eliminating any sort of pencil and paper process all together. As for concert composers, I can only make comments based on my somewhat limited experience in that area - and that is, they will either work with pencil and paper (hiring someone to input the music into either Finale or Sibelius once the work has been completed), or they will work directly into their notation program of choice. It is my understanding that, when writing for the concert hall, Williams writes on orchestral paper, which is then sent off to be put into Finale. My personal preference, when writing for either film or concert hall, is to sketch whenever possible and later go into the computer. I'm a bit "old school," despite my young age - I prefer to free time cues as well, when working for film.

Both of these books are great, particularly "On the Track." It's a fantastic resource - filled with a wealth of information; and as a bonus, it features a forward by Williams. What did you learn about in the course? Did he lecture and then you would watch a movie? Kenny lectured and answered questions both before and after watching film clips, and in many instances we would watch movies in their entirety over the course of two or more classes (with breaks for discussion in between). The great thing was that, since the class was a mix of film making and film scoring students, he would talk in general terms about the music's presence and purpose in various scenes - the film making students would have a solid, basic understanding of (the) music's role in the film, and the film scoring students would dissect the music itself. For instance, if Kenny said that Goldsmith (or Williams, as was the case with "E.T.") used music in a scene to make it more brooding (or whatever emotion was relevant), the film making students would connect the brooding emotion with the music and the visuals, while the film scoring students would, in our minds, take apart what the composer did to provide that brooding sensation (orchestration, rhythm, tempo, etc.). Basically, that's a very long-winded way of saying that both groups of students got something out of the class. The bonus was that Kenny had a ton of really great stories to tell (both good and bad) about the scoring process for the composers with whom he worked as well as the films' respective directors and producers. On a personal level, he's also an incredibly nice guy, which made the class extra fun. What sort of assignments did you have? We didn't have many assignments, actually. Kenny assigned some readings here and there on the history of film music, and we would be quized; and there was one class where we were asked to bring in a clip of film that illustrated good scoring. I chose Raiders of the Lost Ark - "The Map Room: Dawn" - and discussed how Williams' music gave that scene (which, visually, is nothing terribly exciting) a very powerful, almost spiritual, feel. It was interesting to see what everyone chose (there was quite a disparity among the film scoring students alone for that assignment). What did other people choose? One of my film scoring classmates chose Kill Bill, another chose Batman. Hook was presented, too, along with Evita and The Red Violin - to name a few. Sadly, I can't recall the film making students' choices, but I do remember thinking that they were very interesting and thought-provoking.

Both of these books are great, particularly "On the Track." It's a fantastic resource - filled with a wealth of information; and as a bonus, it features a forward by Williams. What did you learn about in the course? Did he lecture and then you would watch a movie? Kenny lectured and answered questions both before and after watching film clips, and in many instances we would watch movies in their entirety over the course of two or more classes (with breaks for discussion in between). The great thing was that, since the class was a mix of film making and film scoring students, he would talk in general terms about the music's presence and purpose in various scenes - the film making students would have a solid, basic understanding of (the) music's role in the film, and the film scoring students would dissect the music itself. For instance, if Kenny said that Goldsmith (or Williams, as was the case with "E.T.") used music in a scene to make it more brooding (or whatever emotion was relevant), the film making students would connect the brooding emotion with the music and the visuals, while the film scoring students would, in our minds, take apart what the composer did to provide that brooding sensation (orchestration, rhythm, tempo, etc.). Basically, that's a very long-winded way of saying that both groups of students got something out of the class. The bonus was that Kenny had a ton of really great stories to tell (both good and bad) about the scoring process for the composers with whom he worked as well as the films' respective directors and producers. On a personal level, he's also an incredibly nice guy, which made the class extra fun. What sort of assignments did you have? We didn't have many assignments, actually. Kenny assigned some readings here and there on the history of film music, and we would be quized; and there was one class where we were asked to bring in a clip of film that illustrated good scoring. I chose Raiders of the Lost Ark - "The Map Room: Dawn" - and discussed how Williams' music gave that scene (which, visually, is nothing terribly exciting) a very powerful, almost spiritual, feel. It was interesting to see what everyone chose (there was quite a disparity among the film scoring students alone for that assignment).

Both of these books are great, particularly "On the Track." It's a fantastic resource - filled with a wealth of information; and as a bonus, it features a forward by Williams. What did you learn about in the course? Did he lecture and then you would watch a movie? Kenny lectured and answered questions both before and after watching film clips, and in many instances we would watch movies in their entirety over the course of two or more classes (with breaks for discussion in between). The great thing was that, since the class was a mix of film making and film scoring students, he would talk in general terms about the music's presence and purpose in various scenes - the film making students would have a solid, basic understanding of (the) music's role in the film, and the film scoring students would dissect the music itself. For instance, if Kenny said that Goldsmith (or Williams, as was the case with "E.T.") used music in a scene to make it more brooding (or whatever emotion was relevant), the film making students would connect the brooding emotion with the music and the visuals, while the film scoring students would, in our minds, take apart what the composer did to provide that brooding sensation (orchestration, rhythm, tempo, etc.). Basically, that's a very long-winded way of saying that both groups of students got something out of the class. The bonus was that Kenny had a ton of really great stories to tell (both good and bad) about the scoring process for the composers with whom he worked as well as the films' respective directors and producers. On a personal level, he's also an incredibly nice guy, which made the class extra fun.

I do feel that film students should at least have the option of taking a class on film music. As a film scoring student at USC, I was required to take a particular film music class taught by Kenny Hall (Goldsmith's music editor); a number of film students were required to take it as well - which I thought was fantastic. It was very relaxed (not intimidating at all) but also very informative. Both of these books are great, particularly "On the Track." It's a fantastic resource - filled with a wealth of information; and as a bonus, it features a forward by Williams.

I'll try to add to what hasn't yet been mentioned. These are the first things that came immediately to mind; there are, of course, numerous examples that could be added. For solo/duet/etc. moments... Oboe (solo) + Tuba (solo): "Jar Jar's Introduction" from TPM (0:08 - 0:25) Bassoons: "The Audience with Boss Nass" from TPM (1:45 - 2:06) Violin (solo): various cues from Schindler's List Violin (solo): various cues from JNH's Signs score Viola: "What American Women Say" from Under the Tuscan Sun (Christophe Beck) (0:31 - 0:51) Viola: "Duel of the Fates" (the ostinato figure) from TPM For ensemble moments... Woodwinds: "Nimbus 2000" from HP1 (concert arrangement) Woodwinds: "The Arrival of Tink" from Hook (1:00 - 1:31) Brass: "The Werewolf Scene" from PoA (2:49 - 3:07) Strings: "Anakin's Theme" from TPM - the string writing here really is fantastic; it's not just the first violins with the melody and chordal passages underneath. Additionally, the slight woodwind and brass additions are a great study for how to add some support and color to the strings without it being soloistic. Strings (pizz): "Chasing Scabbers" from PoA (1:33 - 1:57)

I have had the great pleasure of meeting numerous composers who have worked or are working in Hollywood, and each has been great. John Williams was very kind and gracious (as always). Alan Menken was really nice and seemed humbled when I praised him after an early screening of "Enchanted". Stephen Schwartz was great - a very nice guy, and he perked up when I told him my ultimate dream was to compose for films; he said that was wonderful and that I should really go for it. Christopher Young is also a nice guy, very much interested in passing along information to younger composers... but if something in his studio breaks or something on the scoring stage doesn't sound right, watch out - he goes crazy. John Debney was a very nice, fun guy. Michael Giacchino was also a very nice, fun guy. Very relaxed and encouraging. He even signed a printed score for one his "Lost" cues for me! Bear McCreary was nice - also relaxed yet disciplined in his work ethic and approach to scoring. Blake Neely is probably the most relaxed person I've ever met... he also has a great sense of humor. Joel McNeely also has a great sense of humor, and is always up for helping out younger composers. Aaron Zigman was nice and pretty relaxed. I met him only briefly, at Sony, while he was scoring "Mr. Magorium's Wonder Emporium" and he seemed like he hadn't slept in weeks - but he was still nice and encouraging. Edward Shearmur is also a nice guy... a little 'hard' or stubborn at times, but a pretty cool guy. Ted Shapiro works next to Ed, so they're about the same... though I think Teddy's a little more relaxed. Jack Smalley is probably the funniest older composer that I know. I had a conversation with him once about the themes in the third "Harry Potter" film, and he jokingly asked (in a positive light) if Williams wrote a 'gay Dumbledore' theme. He also has an interesting approach to the musical side of film scoring, where he uses 12-tone rows - so he doesn't have to sit down at a piano and 'masturbate' (as he puts it); he can just sit at a desk and write. I've talked with Alan Silvestri on the phone numerous times, and he's fantastic... a really nice guy and also very interested in helping out aspiring film composers. He's incredibly funny, too, and he always compares various aspects of the film music field to sports or culinary arts or something else - which I think is very interesting. A friend of mine (Shearmur's assistant) talked with Conrad Pope and David Arnold via email about a year ago, and said that each was very nice and encouraging. That same friend met James Newton Howard once, and he said equally praising things about him.

Yep, these are timing indications - the conductor is free-timing the cue (at least this section of it), with the aid of a sweeping second-hand clock and streamers and punches. 1. That's correct. 2. In my experience, the arrow indicates some kind of tempo gradation - i.e. ritard, accelerando - between two tempi. The arrow is just a way of emphasizing the metronomic increase or decrease from one tempo to the next, so that the conductor is sure to hit the new tempo at the right time. 3. I have never seen nor used a the plus symbol, so the best I can do is provide an educated guess... which would be that the 00:45 mark is an approximation or suggestion. For instance, in slower or aleatoric cues, the downbeat could hit at 00:44, 00:45 or 00:46 and still be fine for the following measures (as long as the conductor is sure to compensate and hit whatever 'solid' future downbeats at the right time). Sort of like a 'signpost' along the way, to give the conductor a heads up as to where s/he is and where s/he needs to be at that moment. I hope that makes sense!

The pre-concert lecture, to my (and probably many others') dismay, did not actually involve Williams. Burlingame simply walked on stage, sat down in a chair next to the podium, and talked about Williams' career and impact for about 20-30 minutes. I love Burlingame (he's one of my professors), but it really wasn't anything special...

It really was a great concert... I had an absolute blast. The ovation was insane (insanely awesome)... I definitely cheered along with my fellow composer-friends from the front of the first balcony. I agree, musically, it was quite solid. The strings, in particular, were great. The only noticable detraction came from the horn section (a few "fracks" here and there), although they sounded quite nice at the rehearsal the night before. Overall, it was a lot of fun. I got chills a few times.

I think the piece has a compound triple meter, that is to say that it's based on 3/8... so like 6/8 and 9/8. There are also a few instances of 10/8 (especially towards the very end, right before "The Snowball Fight"). And in response to the topic, my first thoughts were "Quidditch, Year Three" and "Scherzo for Motorcycle and Orchestra"... brilliant stuff. And on a random side note, I think I would LOVE to conduct the latter.

That was kind of my thought process also... so I'm not sure. If I remember correctly, it's at the very beginning of the 20th Anniversary version (where Williams is conducting the score live). I don't know if it's on the original theatrical version too - I'd have to go check (my guess would be that it isn't).

I read that rule over a few times before writing my post. I'll be sure to only post links that I know for sure are 100% legal next time. My bad!

I was actually in your shoes a little while ago, Maestro - I went through this phase where I wanted to get ahold of a bunch of logo music (like the phase I went through before that were I collected some random TV show themes... weird, I know). After frantically searching online, I came across this site, which posts links to audio files of music from a variety of companies (from different years): link removed I'm pretty sure the link is legal, but in case I'm not (sorry!), and Marc deletes the link, just PM me. And yes, I agree - the E.T. "tag" at the end of Goldsmith's Universal music is kind of odd and doesn't really work.

Vision of the Stairs - The Fury T_ _ A _ _ _ _ _ _ O_ T_ _ _ A_ _ F_ _ _ _ _ T_ N_ _ _ _ _ _ _ _

That fifth one is from Hook, not AotC. It's the pirate theme, not AtS. It's the opening horn melody in the concert version of Flight to Neverland. You can also find it at about the 2:20 mark of "Hook-Napped" from the OST. And I'm pretty sure the last one is from Presumed Innocent. It's found in the opening piano solo in the End Titles, among other places.