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Found 6 results

  1. Inspired by a recent discussion in another thread. From that thread: Sabrina theme on the Sabrina OST. Confirmed by Gianmaria Caschetto JW performed on Images, according to @Thor. Which tracks? JW probably performed on the Theme from JFK on the JFK OST, according to @TownerFan. JW performed a bit of the piano solo part in Angela's Ashes, according to @TownerFan. Over The Moon on the E.T. OST. Is JW the performer on Theme from Schindler's List (Reprise)? What about the piano tracks on The Long Goodbye? What else is there?
  2. BASIL POLEDOURIS COLLECTION, THE: VOL. 4 - THE BLUE LAGOON: PIANO SKETCHES https://tinyurl.com/y9c5vzrl SRP: $17.95 LISTEN TO A SOUND CLIP FROM the score for "THE BLUE LAGOON: PIANO SKETCHES" https://tinyurl.com/yctuvflh THE BASIL POLEDOURIS COLLECTION, VOLUME 4 is a limited edition release of 500 units. This Title will begin shipping on the week of Nov 4, 2018 Dragon’s Domain Records, to be distributed through buysoundtrax.com, presents a very special release of composer Basil Poledouris’s original piano sketches and demos that were recorded in his home studio as he was creating the score for 1980’s THE BLUE LAGOON. With this unique release, listeners are given the unprecedented opportunity to listen, like a fly on the wall in Basil Poledouris’ home studio, as the composer works through his themes and musical interludes on the piano in 1979. Via cassette recordings made by the composer while working, the creative process of developing this film score from his initial piano noodlings to his far more developed and confident treatments is audibly documented. As themes both familiar and unrecognized are created and discarded during the course of composition, a major film score is born. Released in 1980, Randal Kleiser’s THE BLUE LAGOON was Poledouris’ second major film score and largest breakthrough, leading to his magnificent score to CONAN THE BARBARIAN in 1982. Basil’s score for THE BLUE LAGOON was straightforwardly romantic and tropically lush, recorded with a full symphony orchestra. It provided an eloquent, yet far from pretentious, melodic sound that treated the characters’ emotional drama quite honestly and sympathetically. With this remarkable opportunity to hear the late composer at work, you’ll hear the score come together as it happens through these preserved and meticulously mastered recordings. As a bonus track, we’ve included a 10-minute recording of Basil and Randal Kleiser working over music a significant moment in the film with Emmeline’s theme, which is a fascinating glimpse into the interaction between composer and director during the creation of this score. Dragon’s Domain Records is proud to present this unique behind-the-scenes examination of the creation of Basil Poledouris’ THE BLUE LAGOON score. Mastered by James Nelson at Digital Outland and with exclusive liner notes by author Randall D. Larson, aided by the memories of Basil’s daughter Zoë Poledouris, is released in a limited edition of 500 units. The CDs, to be distributed through buysoundtrax.com, are expected to begin shipping on the first week of November. ?01. Emmeline (Demo) (2:57) 02. Sketch #1 - Main Theme (3:03) 03. Baroque Motif (12/5/79) (4:28) 04. Sketch #3 - Two Takes on a Theme (3:06) 05. Sketch #4 - Two Takes on an Alternate Theme (1:17) 06. Sketch #2 - Main Title (4:51) 07. Main Title (Demo for Director) (1:02) 08. Sketch #5 - Part 1, Full Tonic Statement (2:27) 09. Emmeline (Demo for Director) (2:27) 10. Sketch #6 - Shark Scene (2:41) 11. Main Title A Section Demo (3:55) 12. Main Title B Section Demo (2:56) 13. Sketch #5 - Part 2, Dramatic Motif (6:32) 14. Main Title Full Demo (3:28) 15. Alternate Main Theme Demo (5:14) 16. Emmeline Full Demo (3:01) BONUS?TRACK 17. Composer and Director Interact (10:48) Total Time: 64:58
  3. Dear Sir / Madam, I have made a transcription/set of variations of The Imperial March from Star Wars. I have a student who is supposed to play it in a local music competition this coming weekend. I made this transcription without any intention of claiming that I wrote the original and I have made this clear on the score. It is edited in a way that makes it possible for small hands but in better taste than a lot of the transcriptions out there. It is a set of 3 variations with a coda at the end. There is no introductory theme (like you would find in a traditional set of variations) but only variations with a softer interlude half way through to break up the first two variations. I think that more than 40% of this piece has been edited or changed but I am not sure. It takes about 2 minutes to play. There is no intention to publish this work or claim copyright for the original. I have not sold it to the student or his parents or anyone else for that matter. I have no intention to sell it. It is only for my one student to play and develop his technique while enjoying what he is using for educational purposes. I have no intention to make money in any way through this piece or for anyone else to make money directly or indirectly from this piece. The local event has a programme but the only details which are published in the programme are the names of the competitors. There is no need for the student to announce the title and composer of the piece although if it is required then he will do so. The event organisers are not making money or advertising the event by using the title of this piece or the original composer's name. It is also a non-profit event. There will be no recording made of this piece when played. The event organisers will be making sure of this. No audio or video recordings will be made and there will be supervisors in the room making sure of this also. The student who is playing this piece along with his parents have been primed not to allow anyone to have a copy of the sheets or give them to anyone else. They are very respectful of the laws of the land and are only interested in promoting their son's musical interests and have agreed to the terms that I have laid down as well as any which we will potentially be given by anyone in authority. As soon as the student has finished playing the sheets will be taken back and destroyed. Is there anyway for us to get permission for him and only him to play this piece during this coming weekend? If anyone can help I would really appreciate it as hours of reading up on copyright law has not brought me close to finding out what is permissible and what isn't as far as movie Music is concerned. I have even asked Radnich and Belousova how they got permission to transcribe, record, sell and show for free on YouTube their transcriptions and paraphrases of Star Wars but they have not replied and we are running out of time. My student has worked for just over a whole year (now 8 years old) to be able to play this piece. It would be a crying shame if it was not possible. How can we get official permission for him to play it just in case a representative of the PRS turns up to this event? Do we need official permission? PLEASE HELP! Mish
  4. Does anyone here know if there was ever a piano book that had any of the music from Williams's Spacecamp? I'm looking to starting up piano lessons again.
  5. http://edition.cnn.com/2013/09/27/tech/innovation/hans-zimmer-seaboard-future-piano/?hpt=hp_c5 There's also other new instruments like The Reactable The Fingerboard Continuum The Swarmatron We'll wait and see until we hear this instrument on film scores (with the exception of the Swarmatron which was already used in a film score.)
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