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Best single track of the decade


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My vote would go to The Breaking Of The Fellowship from LOTR: FOTR.

As soon as I read the thread title that was the first thing that came into my mind.

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I was moved a lot more by the flute solos when Frodo and Sam are climbing Mount Doom in ROTK. But I agree, it is a very good piece.

Karol - who can't think of any single track right now.

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Aside from the strings in BotF, it's that heartbreaking section at 2:15 that gets me every time.

I prefer it to the mix in the CR actually, it's more balanced. I actually find myself going back to the OST a lot because I prefer the performances, and also because (despite the huge amount missing) it's a very nostalgically structured CD.

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I was moved a lot more by the flute solos when Frodo and Sam are climbing Mount Doom in ROTK. But I agree, it is a very good piece.

Those are incredible moments, but as a whole I feel "The Breaking" is better.

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I think I somehow misread the thread title...I didn't realize it said "Best single Howard Shore track of the decade"...

Oh, you're funny.

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It's still not well-understood by most people that the LOTR scores were the last truly BRILLIANT scores that were produce...eeeh composed.

There have been some good scores after that, but nothing that can stand next to the great scores of the 20th century, without feeling a little bit ashamed.

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First thing that came to mind was 'The Hand of Fate pt. 1' from Signs. It's even better with pt. 2, but that would be breaking the rules.

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It's still not well-understood by most people that the LOTR scores were the last truly BRILLIANT scores that were produce...eeeh composed.

I don't care how brilliant they are. I care how they make me feel. There's often a positive correlation between intelligent, inspired construction and the production of desirable emotions, but LOTR proves that in my case, r is definitely not equal to 1.0.

If we were keeping this in the realm of Williams concert suites, "Hedwig's Theme" would get my vote. It easily stands among his greatest works of any decade. But since there's a considerable amount of other material written by Williams and others, I can't offer a single answer.

Jerry Goldsmith's "Soarin' Over California" is one of the candidates, though. That piece is...transcendent.

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First thing that came to mind was 'The Hand of Fate pt. 1' from Signs. It's even better with pt. 2, but that would be breaking the rules.

I just like to think of the two parts as one and it is my favorite non JW que of the 00's.

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First thing that came to mind was 'The Hand of Fate pt. 1' from Signs. It's even better with pt. 2, but that would be breaking the rules.

Yes, I whole heartedly agree.

Runner Ups:

Confluence (Memoirs of a Geisha)

Future Prospectors (there Will be Blood)

Up from the Well (Mao's Last Dancer)

Ballet for Brawlers (The Red Canvas)

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I was thinking of this, but I can't just pick one. So I guess that's my top 10.

The Mouth of Sauron (as it appears on the CR)

Pianos (from Serenada Schizophrana)

End Title from Little Children

Love Pledge and The Arena from Attack of the Clones.

Epilogue from War of the Worlds

A Prayer for Peace from Munich

With My Own Eyes from Atonement

Hand of Fate from Signs (I treat both as one long cue)

The Search for the Blue Fairy from A.I.

Charades from Lady in the Water

It would be one of these. It varies from day to day, hour to hour. But they all get me every time.

Karol

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Probably general grievous from ROTS. I think it's Williams best action cue ever. Brutal and aggressive. Complicated. And highly rhythmic.

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Well it's the best cue from ROTS.

I can't pick just one but here's a cue that no one has mentioned:

Jerry Goldsmith: "The Mission" from The Sum Of All Fears.

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Well it's the best cue from ROTS.

I can't pick just one but here's a cue that no one has mentioned:

Jerry Goldsmith: "The Mission" from The Sum Of All Fears.

When I' listening to this cue, I don't know why, but I keep reminded of the dreadful the pop version.

Karol - who hates any pop version of any movie theme

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It's still not well-understood by most people that the LOTR scores were the last truly BRILLIANT scores that were produce...eeeh composed.

There have been some good scores after that, but nothing that can stand next to the great scores of the 20th century, without feeling a little bit ashamed.

The scores were pompous bullshit elevated by an epic masterpiece of film.

There was much better music from the decade than the deceptive crap that helped make LOTR patronizing to the senses.

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The scores were pompous bullshit elevated by an epic masterpiece of film.

There was much better music from the decade than the deceptive crap that helped make LOTR patronizing to the senses.

I wish people 'round here would start saying what they really mean, instead of 'sugar-coating' their words..... :blink:

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Mr. Cosman and I have had our disagreements, but in this case I'm right there with him: the scores for LOTR were - beyond a shadow of a doubt - the greatest film music composed during the noughties.

In fact; I consider Shore's scores to be some of the finest film music EVER written.

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