tony69

ya. anyone know what the first tune was tho? i liked the huge percussion before the horns blasted through.

how is this inappropriate? this is just someone who is remarking that he happened to innocently notice there was jw as the victory song.

exactly. and i'm 100% sure it was the patriot. the beginning song did not seem like the patriot. perhaps david arnoldy, but it definately became the patriot after around 1-2 minutes. and i also noticed Zimmer for mccain. hehehe.

ya the patriot by JW. they're still playing it.

Yes we can! Anyone so happy to hear the Patriot as the Victory song after the speech?

what happened to it? in sadness and shameless self-promotion, i've restarted the thread! Here's a listing to the newest song i wrote. Very simple but watever. Hope you like it! i know she did:p. http://www.acidplanet.com/artist.asp?PID=1090453&t=3031

hm... those aren't very good. the spiderman one was pretty bad for example.

Hi, I'm looking for some good piano transcriptions of JW's concert pieces (of the film scores). I've made a couple, but I was wondering if anyone else has some more? I have an upcoming gig that wants alot of JW and I hate the cheap arrangements that they sell under JW's name (like 1 minutes of bad arranging (ex. star wars theme) vs. a full 5 minute concert suite). I don't have time to arrange them all myself so I was wondering if anyone here has some? thanks.

So i organize a concert series with concerts in Toronto. We just spoke to JW, and he's interested in writing music specifically for a concert in January 2009. He's arranging some of his own music into a suite for flute and strings. I thought i'd just share this with you. Oh, and we haven't gotten confirmation but there's a 90% danny elfman is probably going to also write music for it. and a 20% chance he might show up from what i hear, depending on his composing schedule for next year.

Hey, I was curious if any of you knew what happened to a certain website that used to be up a few years . It was a John Williams Themes website where they had transcriptions of themes from his works including the concert works and other stuff.

also, for the more film-music lovers, heres another i just uploaded as well. very cinematic ending type music haha. maybe also coplandish. http://www.acidplanet.com/artist.asp?PID=1014908&t=2165

It's been awhile since I posted a new song. Heres' the exposition of a rough draft of my piano trio. I know, the first theme is reminiscent of Mathis und Maler Symphony... it was told to me after I played it to someone. Nevertheless I kept it, since I could use that short and sweet motif for a good development section. http://www.acidplanet.com/artist.asp?AID=285685&T=544516

how about one of the hook cues which sounds like it was lifted straight out from firebird? i cant remember right now, but im 100% sure that was the temp track...

see it was a FUN movie. like pirates of the carribean. Obviously its not meant to be a smart movie; how smart is having 1.5 hours worth of fighting in a movie in general? but it was fun. and the score worked; it wasnt bad nor good, but served its function. and oh, they have the famous middle eastern female voice that has crept into scores nowadays. Almost a cliche now.

OMG i love that movie. and btw the score wasn't that bad. i actually rather liked it, and it worked at the end. course i watched it in imax, so i was very in awe of themovei.

anyone have a transcript of the talk? i'd prefer to read it on the subway or soething.

ew violas..... yup thats right. i'm bringing musician racism to the board:P.

ya bad example true. i probably was unclear in my argument. I was not arguing that you have to like both classical music and film scores, rather I was arguing that film scoring should be a subgenre of classical music. With this, it is true that there are pop songs often in film scores and in fact, even some rap in contemporary operas (read Grammophone). But like with classical music, there is always a fine line between Art Music (ex. Tchaikovsky) and Popular Music (ex. Strauss Jr).

I beg to differ. (yay another thread with disccussion) Look at it this way. Classical music has always had multiple genres within the broad spectrum we associate as classical music. In the 1800s, we had ballet to which programmatic music was written for. Or, there was opera, which likewise often had programmatic music. Even plays had incidental music which either stood on its own as intermissions or played beneath the spoken dialogue (ex. Grieg and Ibsen's Peer Gynt) So now having arrived at the 20th/21st century, I sincerely believe that we now have a new genre, known as Film Scores. Like the 1800s where they had incidental music to plays in particular, we now have incidental music to film scores. In fact, I think you would agree with me that the origins of Film Scores back in the day was similar to the Incidental Music for plays in that it provides a background and sets the mood for what is taking on the screen. However, there will be some who argue that because film scores generally do not use modern idioms, it is not classical. I beg to differ because it is being used in a clichéd circumstance such as horror, action, suspense, etc. Rarely do you associate serialistic techniques with a romantic love scene (though in Basic Instinct, Goldsmith did use highly dissonant chords for Pillow Talk). There will also be others who argue because the goal of classical music is to develop themes using motifs and forms, film scores are not considered to be true classical music. Let us look at that closely. Film scores do have form, the overture/main titles, internal cues, and then the end credits. Also, in terms of motifs, there is a large variety of classical music that does not have intense motivic development, in particular, much of the programmatic music of the Romantic Era. Would you not agree that Liszt's Les Preludes does not really have development, since it is the SAME theme, just in different guises, very akin to the techniques used in John Williams's Scores, with a theme say Skywalker's Theme but in different guises? Well those were my thoughts. I'm interested to hear other opinions.

i think this is his revenge for us making fun of him back in one of the forums message. where we were like, soooooo 3.141592653..... and now he can laugh and smirk and we're sad.

shoot, does this mean no JW score for next year?

Ideally, strive for a natural blend. If you want to EQ "something out of the violins and violas," then just tone down their prominence in the composition itself. ya, if u EQ out some of the frequencies, you find it sounds less organic/realistic. Afterall, it is the overtones that give a timbre the characteristic timbre. That's why if u have people hitting stands or watever in recordings, you try to redo the take or just leave it be. If you try and simply EQ out the sound, you find it very obvious after you remove the frequencies. so BEST strategy is A) dont write in the singers range. this is the most common one for operatic and song cycle works. B) make the orchestra more quieter either through dynamics or using mutes on strings, etcetc.

been a while since i posted on this thread. Here is my latest work. It's based on Joy to the World so its perfect for this time of the year. http://www.acidplanet.com/artist.asp?pid=921266&T=6687

i heard john williams on regular radio stations today. they were doing the annoying christmas stuff, and they happened to play somewhere in my memory, but with a girl playing. its interesting. anyone know who sang it?

i LOVE conducting the rite of spring. It's SOOOOOOO much fun. just my opinion though. one of the most fun pieces to conduct in concert in 20th century repertoire. The problem lies in the musicians and their ability to count... therein lies the majority of the issues. AHHHHhhhhh, if only they knew the difference between 3/8 and 2/4 or little things like that.