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Next_Spielberg

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  1. The command for that is generally Ctrl + C followed by Ctrl + V. I actually somewhat enjoy the MediaVentures score; It's just that it has been featured in too many films. I had to watch Gladiator recently, and there was the wailing woman and Pirates of the Caribbean(Imagining a ship full of undead pirates invading Rome can be a bit distracting.). I noticed several action cues that were not only orchestrationally the same as the music in PotC, but the notes were upwards of 80% identical. This is where music notation software can be dangerous to a composer's artistic integrity. It makes it so easy to "compose" by copying entire cues and tweaking them. A good composer should always ask themselves, "Why am I copying this part?" If it's because you would have done the same thing with pencil and paper, the computer has just saved you half an hour of clicking. If it's because you're out of ideas or just don't want to put forth the effort to write original music, the computer is making you lazy. One of the reasons I enjoy Williams music as much as I do, is that there is a lot of variation in the music. There are developing musical ideas, not simply theme repetition. When I write, I try to incorporate as much variation and interleaving of musical ideas as I can. It makes for better music. What are everyone else's thoughts on this?
  2. From my experience, Sibelius has support for full orchestra (Though the sampling isn't the best by default), and I've connected my keyboard to it for note input. I'm using version 4. I personally like Sibelius but haven't used Finale or anything else. I also tried Rosegarden for Linux at one point but I couldn't get MIDI to work with the laptop's soundcard.
  3. Wonderful recording! Jack, I rather enjoyed this piece. It has nice eerie motif with nice development. It doesn't sound particularly like you're mimicking anyone in particular, though it did sound slightly like we were in a minor mode E.T. momenarily because of a similar interval and harmonies at one point. It seems you tend toward short motifs of about four notes and mix them together in new forms and instrumentation as the piece progresses. I think you have action scoring down pretty well. It might be interesting for you to try composing in other genres and with longer melodic lines. Just a few thoughts. I really did enjoy listening to it.
  4. While I can't comment on every sketch Mr. Williams has done, since I haven't seen his sketches personally, it would be perfectly reasonable that an 8-10 line sketch with clear annotations as to which instruments are playing which notes could be clear enough that any given orchestrator would produce a similar or identical score. I think that this manner of writing makes a lot of sense when pencil and paper are concerned, since it's much easier to annotate "flutes on the top line, clarinets below, doubled by basson" than to write the same thing on a full score. I surmise that I would write annotated sketches if I used pencil and paper as my primary means of notating music. Orchestrating is a much easier task in Sibelius and other notation programs, since it's almost easier to create an orchestrated piece than a sketch. Orchestrators for pencil and paper composers under a schedule provide the composer a means to convey his/her exact musical intention quickly without having to get bogged down in the tedium of copying the flute part to the piccolo line for the next three measures and so forth. There are of course cases of composers who provide essentially piano reductions of the score to an orchestrator who orchestrates the piece, though I'm sure even orchestrators under composers like Williams have the occasional opportunity to suggest something or provide some inspiration.
  5. After reading your post, I put my "By Request" cd in the drive to listen to some various Williams pieces, and noticed that not only did the Imperial March begin with that ostinato I'd always found rather nice, but many of the other ones did as well. It seems that his ostinatos serve to set the rhythm and pacing of the piece. Listen to The Mission or the pattern that plays during the Raiders March before and during the main them begins playing or quite a few of his other themes. Of course, this probably shouldn't be surprising, though I hadn't fully noticed the importance these ostinatos play in his music until now, since ostinatos are a rather common device in jazz.
  6. Exactly, I've studied other composers as well. The first thing I did, for instance, with Sibelius was to input the fourth movement of Tchaikovsky's fifth symphony (long story) and I of course studied it rather closely as I did so. It was there that I actually saw the first instance of parallel octaves being used by a skilled composer, which worked very well in the piece. Until then I had been taught to strictly avoid parallel octaves. Not to encourage the abuse of parallel octaves, because they can sound pretty poor if overused in a piece, but Williams himself used a trio of parallel octaves to begin Harry's Wondrous World, and that worked very effectively. I have studied other composers, but as my personal favorite, whose music manages to thus far transcend my understanding, I would very much like to hear what others have noticed about Mr. Williams' music.
  7. I composed several pieces over the last few years, some film scores and I'm almost done with a symphony. I'm certainly no John Williams, but I like to pride myself on striving to create music that meshes well with the film, while retaining interest on its own. There are plenty of good composers here, but I'd very much like to hear more about your project.
  8. No, I hadn't posted here since I wrote a concert review two years ago. Since then, however, I've been composing music of my own, and as my favorite composer, I'd like to learn more about how John Williams' music is crafted. Right now I'm looking at Adventures on Earth (amazing composition, by the way) and am trying to learn from it. By learning more about how Williams' own music is constructed, I hope to become a better composer myself.
  9. I've been analyzing the full score to Adventures on Earth, which is amazing. And as I'm attempting to play bits of it, my mind seems to fill in the rest of the orchestra (In certain passages, it's not possible to play every note at once on the piano), which is a very interesting experience. Sometimes, I also mentally experiment with themes and variations, changing a note here and there or replacing a quarter note with a triplet of that note. It can be a relaxing distraction, but sometimes you want to remember it and don't have anything to notate it on immediately.
  10. One thing that has always impressed me about John Williams is how he consistantly writes top-notch music in so many different styles, yet I've also found that one can find subtle similarities throughout his works that say, "This is a Williams score." Most of the time, it's a subconscious sort of similarity, but sometimes you can pick out a certain chord progression he favors or something along those lines. I find it fascinating, yet I've never been able to put my finger on what exactly defines his sound, what techniques make his music work so well. I'm curious what kinds of techniques the more musically knowledgeable people on this board have noticed in his works.
  11. “Concert music is not perfect. Concert music is WONDERFUL.” -Dale Clevenger Two years ago John Williams brilliantly conducted the Chicago Symphony as part of the premiere of his Horn Concerto. The CSO had commissioned him to compose it for their principal horn player, Dale Clevenger. This set the stage for his return this November 26th concert, the second of three that Williams will conduct. This time, John Williams organized another excellent concert combining his own works with those of other legendary composers. Among those honored were the recently deceased Jerry Goldsmith, David Raskin, and Elmer Bernstein. Mr. Williams seemed particularly emotional as he introduced his tribute to them. John Williams had a history with these composers, playing in their orchestras at the age of 12, as he noted last night. The latest concert offered a mix of old favorites and new hits. Among these favorites was the concert’s first piece, The Cowboys Overture. The CSO played it beautifully to John Williams’ emphatic lead. Another of William’s hits in the 70’s, Close Encounters of the Third Kind, was brought to life by the symphony. The piece starts out in its dark manner and evolves into the light, 5-note melody so integral to the film. After this piece finished, Williams introduced his next piece by comparing the benevolent alien encounters of the former to the dark, dangerous ones of the two pieces to come: from War of the Worlds. First came Escape from the City, a complex action sequence that was well performed. Then came the sad, but pleasing epilogue, which Williams brought to life again with the CSO. Williams, tribute came next. Jerry Goldsmith’s Star Trek: The Motion Picture came first, and it was played wonderfully. Raskin’s Laura, arguably the best love theme according to Williams, followed. Bernstein’s Magnificent Seven Suite was energetically played rather well. This was followed by Newman’s Conquest from Captain from Castile, which concluded the first half of the concert. After intermission, John Williams began with his Tribute to the Film composer, which made the audience laugh and cheer at various points when especially recognizable melodies appeared, as from Star Wars, The Pink Panther, Psycho, Titanic, Jaws, E.T., and others. Instead of Korngold’s The Sea Hawk, John Williams decided to play a “jazzy little piece,” the March from 1941. This was an enjoyable cousin of The Cowboys Overture. Out to Sea/Shark Cage Fugue from Jaws came next and was thoroughly appreciated even though it wasn’t the famous two-note motif synonymous with the film. Three pieces from Harry Potter came next, and these were some of the best pieces played. Hedwig’s Theme began the magic and sounded wonderful, followed by the amazingly creative Aunt Marge’s Waltz, which the CSO played excellently. Harry’s Wondrous World finished up this section with some of the best playing to this point. The last scheduled part of this concert was three pieces from Star Wars. The Imperial March came first, and the performance of it was superb. Anakin’s theme, which seemed an odd choice at first actually made a nice addition with an excelling performance of it. The scheduled portion appropriately concluded with Throne Room and End Title from A New Hope. This was performed flawlessly, and the audience gave a standing ovation as it closed. This was followed by a fourth Star Wars piece, Luke and Leia, which the orchestra performed beautifully. Then John Williams presented The Mission Theme from NBC News in case anyone missed it after the concert. The Final encore was the Raider’s March, which immediately caused some applause. This was stunningly performed and the standing ovation following it continued even after Mr. Williams had left and reentered the stage several times and only concluded after the orchestra members began to file off stage. This was an excellent concert and a superb sequel to the 2003 ones. John Williams conducted his heart out and the orchestra’s performance showed this. Though there were perhaps a few incorrect notes the performances were all exceptional. John Williams has given yet another magnificent concert, and we all hope to see him conduct again in Chicago very soon. His concert music has been indeed WONDERFUL!
  12. In light of the recent Tanglewood cancellation many John Williams fans would surely enjoy a recording of the August 3rd's Evening at Pops put on the internet (myself included). For those of us that don't live in the Boston area you can check out pbs.org to see if it is showing in your area. (as it may not be) If anyone obtains a copy please post a link in response.
  13. John Williams' Horn Concerto offered viewers the world-premiere of Concerto for Horn and Orchestra as well as a glimpse of Mr. Williams' humor and personality. Every Williams piece brought thunderous applause from the crowd that was thrilled by the conductor and his work with Dale Clevenger and the Chicago Symphony Ochestra. Beginning with Sound the Bells! and following through with Tributes! John Williams wowed the crowd and won thier vigorous applause as he wet the audience appetite for more. This was followed by John Williams new work Concerto for Horn and Orchestra which really consists of five movements, Angelus, The Battle of the Trees, Pastorale, The Hunt, and finally Nocturne. the first movement begins with a distant angelus bell. The Battle of the Trees comes next and musically conveys the celtic poem in which trees become warriors and battle each other. This is followed by the nostalgic Pastorale. The Hunt is a traditional example of chase music. Nocturne represents the slow winding down after a long day. All five parts reflect Williams life long love of the horn, and were written for horn player Dale Clevenger. These are all prime examples of classic Williams music. Then comes the JFK suite and several pieces from Far and Away. The theme from Schindlers List is followed by Adventures on Earth fron E.T. and is in turn followed by the Love Theme from Star Wars: Episode 2 (which is not in the program). Then Star Wars is performed (also not in the program). The presentation is concluded by the NBC nightly news theme. The Star Wars encores were enthusiastically welcomed by the audience, which honored Mr. Williams with several standing ovations, some wearing thier hands raw and red with vigorous clapping. The experience will undoubtedly leave a lasting impression for audience members of all ages. If you didn't catch Mr. Williams in Chicago there is always London in 2005!
  14. John Williams' Horn Concerto offered viewers the world-premiere of Concerto for Horn and Orchestra as well as a glimpse of Mr. Williams' humor and personality. Every Williams piece brought thunderous applause from the crowd that was thrilled by the conductor and his work with Dale Clevenger and the Chicago Symphony Ochestra. Beginning with Sound the Bells! and following through with Tributes! John Williams wowed the crowd and won thier vigorous applause as he wet the audience appetite for more. This was followed by John Williams new work Concerto for Horn and Orchestra which really consists of five movements, Angelus, The Battle of the Trees, Pastorale, The Hunt, and finally Nocturne. the first movement begins with a distant angelus bell. The Battle of the Trees comes next and musically conveys the celtic poem in which trees become warriors and battle each other. This is followed by the nostalgic Pastorale. The Hunt is a traditional example of chase music. Nocturne represents the slow winding down after a long day. All five parts reflect Williams life long love of the horn, and were written for horn player Dale Clevenger. These are all prime examples of classic Williams music. Then comes the JFK suite and several pieces from Far and Away. The theme from Schindlers List is followed by Adventures on Earth fron E.T. and is in turn followed by the Love Theme from Star Wars: Episode 2 (which is not in the program). Then Star Wars is performed (also not in the program). The presentation is concluded by the NBC nightly news theme. The Star Wars encores were enthusiastically welcomed by the audience, which honored Mr. Williams with several standing ovations, some wearing thier hands raw and red with vigorous clapping. The experience will undoubtedly leave a lasting impression for audience members of all ages. If you didn't catch Mr. Williams in Chicago there is always London in 2005!
  15. John Williams' Horn Concerto offered viewers the world-premiere of Concerto for Horn and Orchestra as well as a glimpse of Mr. Williams' humor and personality. Every Williams piece brought thunderous applause from the crowd that was thrilled by the conductor and his work with Dale Clevenger and the Chicago Symphony Ochestra. Beginning with Sound the Bells! and following through with Tributes! John Williams wowed the crowd and won thier vigorous applause as he wet the audience appetite for more. This was followed by John Williams new work Concerto for Horn and Orchestra which really consists of five movements, Angelus, The Battle of the Trees, Pastorale, The Hunt, and finally Nocturne. the first movement begins with a distant angelus bell. The Battle of the Trees comes next and musically conveys the celtic poem in which trees become warriors and battle each other. This is followed by the nostalgic Pastorale. The Hunt is a traditional example of chase music. Nocturne represents the slow winding down after a long day. All five parts reflect Williams life long love of the horn, and were written for horn player Dale Clevenger. These are all prime examples of classic Williams music. Then comes the JFK suite and several pieces from Far and Away. The theme from Schindlers List is followed by Adventures on Earth fron E.T. and is in turn followed by the Love Theme from Star Wars: Episode 2 (which is not in the program). Then Star Wars is performed (also not in the program). The presentation is concluded by the NBC nightly news theme. The Star Wars encores were enthusiastically welcomed by the audience, which honored Mr. Williams with several standing ovations, some wearing thier hands raw and red with vigorous clapping. The experience will undoubtedly leave a lasting impression for audience members of all ages. If you didn't catch Mr. Williams in Chicago there is always London in 2005!
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