Jump to content

Search the Community

Showing results for tags 'theory'.

  • Search By Tags

    Type tags separated by commas.
  • Search By Author

Content Type


Forums

  • Discussion
    • JOHN WILLIAMS
    • General Discussion
    • Tolkien Central
    • JWFan Reviews

Find results in...

Find results that contain...


Date Created

  • Start

    End


Last Updated

  • Start

    End


Filter by number of...

Joined

  • Start

    End


Group


Website URL


Location

Found 2 results

  1. I was wondering whether anyone has looked into the the key relationships, if any, between successive cues or maybe a predominant key or tonal center across an entire score by JW. Do you think this is an important consideration when JW writes a score?
  2. I was thinking about this subject in bed last night. When we usually talk about pedal points we meant something in the bass, or a single tone. But what about a ostinato that when heard over a rising or falling chord progression bass line create a temporary sense of extended harmony? I'm going to use three film music examples to render my point. 1) Danny Elfman - Hulk At 0:22 a descending ostinato for 3 flutes based around EMaj7 is introduced, in tight, clustral voicing. After rising horn and trumpet lines build to a crescendo, we reach a climax at 0:41. Here we have a series of rising chor
×
×
  • Create New...

Important Information

By using this site, you agree to our Guidelines.