Favorite Film Score Snippets

[Delorean90 42]

What are your favorite little excerpts from a film score cue right now? I finally got Star Trek II a couple of weeks, and I absolutely love the upbeat opening of "Battle in the Mutara Nebula," leading up to the big statement of the main theme at 0:55. So fun and excited! The whole cue is great, but that section keeps popping into my head.

[Charlie Brigden 7]

The opening of 'Pilot Over' from RAMBO: FIRST BLOOD, PART II, with the most awesomely heroic version of John's theme around. I'm also humming the the Rambo B-theme from that same score.

[Andy 4,142]

Today "Riding as One" from Silverado transformed my Dodge Stratus into my trusty steed. Felt so good, I played it a couple o' times.

Thanks to Mr. Olivarez for the disc! It's gone to a very appreciative home.

[indy4 155]

I love that whirl of woodwinds before the reveal of the Raiders March A theme at the end of Last Crusade.

[Melange 446]

Film Score Snippets is what I enjoy most about film scores.

One day I must get around to making a CD comprised of those 3-30 second moments of genius that crop up in scores. So many come to mind, but off the top of my head there is part in 'Electronic Battlefield', a cue that Horner wrote for the scene in Patriot Games where a North African training camp is taken out by special forces, watched by satellite feed from CIA headquarters. Interestingly enough,a famous score reviewer trashes this track as severely underplaying what was required for the scene. I'm not sure what that guy wanted for that scene, but Horner's approach to it captured the uncelebratory creepy aspect of watching from 1000s of miles away as people are systematically cold calculating eliminated without even knowing or caring who is who.

On a

, at 0:35 a descending mood rather like a church organ comes in, evoking a funeral of sorts. Yes a fair whack of the music in that cue is a variation on a work that Horner obviously nabbed from Khachaturian, and Horner has used a variation of this many times since in his scores. But I can't help but admit that it worked really well for this scene.

A few ones for Williams, for tonight.

During

, from Raiders. Beginning at 3:16,it reaches a peak during 3:24-3:30 where in 6 seconds he somehow manages to express the whole weight of history coming forth.

During

from CEO3K. From 1:50-1:59, scoring that brief scene where they've escaped and are running up the field. It's so euphoric.

During

from CEO3K. From 0:38-055, in that wide shot where the tiny ships break away and form a pattern above Devil's tower. It's a beautiful scene and beautiful music to go with it.

During

from CEO3K. From 0:30 - 1:00, in that scene where they climb up a hill and Devil's Tower is revealed. Fantastic

Oh I could go on and on here, but now it's late. I shall return with more links, tommorow

[Gruesome Son of a Bitch 6,488]

Yeah that is the best part of the ark scene.

There are too many moments to list that it ends up becoming more than just snippets and entire cues for me. But what the hell. One snippet I was just thinking of is the ending of the first part of The Colonial Cause from The Patriot, the scene where Mel Gibson rides alongside the Continental army with the flag and the Patriot theme is heroically reprised. The ending is a personal favorite part. It is reliably edited out of the soundtrack but the way Williams winds that cue down is completely magical in only the way Williams could manage.

That part that sounds like Luke's theme when Harry Potter sees the Hogwarts train.

The part where Luke looks down the abyss before he falls.

The flying theme and the quick statement of E.T.'s other theme when Elliot yells "It's working!"

When the slave children reach the outside.

When Brody is retreating to the other side of the ship and Quint's harpoon gun appears in his path.

When young Indiana Jones briefly argues with the fedora guy over the fate of the cross.

When the Rebel fleet turns around.

The fleeting shot of the helicopter dropping down with the fanfare when Grant can't get his seatbelt on.

The part where Grant yells to Ellie to boot the door locks and pan up to raptor in the window.

[fommes 153]

One day I must get around to making a CD comprised of those 3-30 second moments of genius that crop up in scores. So many come to mind, but off the top of my head there is part in 'Electronic Battlefield', a cue that Horner wrote for the scene in Patriot Games where a North African training camp is taken out by special forces, watched by satellite feed from CIA headquarters. Interestingly enough,a famous score reviewer trashes this track as severely underplaying what was required for the scene. I'm not sure what that guy wanted for that scene, but Horner's approach to it captured the uncelebratory creepy aspect of watching from 1000s of miles away as people are systematically cold calculating eliminated without even knowing or caring who is who.

On a

, at 0:35 a descending mood rather like a church organ comes in, evoking a funeral of sorts. Yes a fair whack of the music in that cue is a variation on a work that Horner obviously nabbed from Khachaturian, and Horner has used a variation of this many times since in his scores. But I can't help but admit that it worked really well for this scene.

That was in fact my first exposure to that Horner variation (and probably my first intensive exposure to a Horner score), and for that reason all the rest of his copies (like in Aliens) will always be secondary to that instance (just like the danger motif is something that comes from Mask of Zorro for me, where it actually fits quite well).

And I just love his score for that scene; it is very chilling, and perfectly scored.

[Datameister 2,044]

Many of my favorite Williams snippets coincide with transitions between cues. Williams has this penchant for writing a cue that's supposed to segue directly into the next one, and in doing so, he creates a really exciting and effective between them. For instance, at 2:07 in HP:SS's "The Quidditch Match", the cue "Let the Games Begin" crescendos into a final cutoff, at which point the cue "The Scoring Begins"...begins. The seconds before and after that transition are fantastic. Similarly, there's the transition surrounding 4:48 in "Indy's First Adventure"...or even better, the transition from E.T.'s "The Rescue" into "The Bike Chase" (4:28 in "Escape/Chase/Saying Goodbye" or whatever you want to call it). In a totally different vein, ROTS has a great transition at the end of the unreleased "Going to Utapau", leading into "Riding the Lizard" (the first cue in the track "General Grievous"). Or a subtler one I just picked up on yesterday: 2:24 in "The Ultimate War" ("To War!!" -> "Crossed Swords"). A lot of these are just variations on authentic cadences...but somehow, the maestro always manages to use that predictability in a way that sounds totally fresh, exciting, and original.

Also, sometimes he'll literally just keep the same chord going through the transition. For instance, TOD's "The Child Returns" leads into "The Elephant Ride" with a simple crescendo on the same D major chord that the latter starts with. But the buildup is so satisfying. In a totally different vein, ROTS's "Moving Things Along" (AKA "Enter Lord Vader") was supposed to emerge from the final low note of the unreleased "News of the Attack." It's just the tonic, but something about that simple transition is so effective.

But I could go on and on about cue transitions, so I'll stop. Honestly, it would be an awesome birthday present to get every such pair of Williams cues with clean endings and beginnings so I could just...listen to them separately and then edit them together. I get that much enjoyment out of it. Oy, I'm such a freak!

[John Crichton 4]

I finally got Star Trek II a couple of weeks, and I absolutely love the upbeat opening of "Battle in the Mutara Nebula," leading up to the big statement of the main theme at 0:55. So fun and excited! The whole cue is great, but that section keeps popping into my head.

Me too, that's always been one of my favorites, though I'd extend it to the softer statement of the main theme while they're viewing the tactical display.

[Datameister 2,044]

I think we can just sum it up by saying the entire last few reels are utterly fantastic.

[BTR1701 59]

What are your favorite little excerpts from a film score cue right now? I finally got Star Trek II a couple of weeks, and I absolutely love the upbeat opening of "Battle in the Mutara Nebula," leading up to the big statement of the main theme at 0:55. So fun and excited! The whole cue is great, but that section keeps popping into my head.

As a trumpet player, I always get a thrill out of the brass choirs that Williams dropped into his Star Wars cues here and there. Just a few examples:

The Last Battle, starting at 4:29 and again at 6:17

Luke's First Crash, starting at 3:02

The Duel, starting at 2:36

[Datameister 2,044]

As a non-trumpet player, I always get a thrill out of those, too. Actually, that first example you mentioned also fits into what I was talking about - great big transitions from one cue into the next. Best of both worlds!

[PIANOMUSICIAN1991 0]

The theme in Star Wars Empire Strikes Back when they are in the 'Mynocks Cave' There is a flourish of high piccolos then the horns and strings come in with the theme.

[Wojo 2,453]

I also like the piccolos in "Belly of the Steel Beast." There are moments in that piece where they really dominate. I love it.

[Melange 446]

During

, from Jurassic Park.

1:11-1:15 (4 seconds of nerve gangling) , then 2:31-2:41 (superb), and then 2:58-3:20 (this part has always been one of my favs from JP)

Melange - Finding that going back to replay these magic moments via this topic is reigniting my love for William's Music

[PIANOMUSICIAN1991 0]

Oh I know! I love the 'Grave Robbers' track from Kingdom of the Crystal Skull, its so experimental in a way, I dont know how John Williams manages to do it. Its not so noticeable in the film but when listened to as a stand alone track its wonderful. Especially the harp parts that a kinda 'Strummed' violently. Superb!

[Jeff 10]

Here are a few of my favorites:

1) The end of the Sail Barge Assault in ROTJ

2) When the Millenium Falcon goes into hyperspace at the end of ESB.

3) When Yoda raises the X-wing from the swamp in ESB.

4) The transition between Scherzo for Motorcyle and Raiders March in the end credits of Last Crusade.

Also, just before the end credits of the following films:

1) Sorcerer's Stone (Hagrid's return in Chamber of Secrets uses the same cue but revamped a little bit.)

2) ESB

3) AOTC

4) ROTS

Lots more, but I'll leave it at that for now.

[indy4 155]

The entrance of the synth choir in "The Sinking" from Titanic...brilliance.

[BTR1701 59]

I also like the piccolos in "Belly of the Steel Beast." There are moments in that piece where they really dominate. I love it.

I just wish I could get the score to that cue. I have most all of "Last Crusade", but when I first received it and went through all the cues, I was incredibly disappointed to find that the one cue that was missing was my favorite of the entire soundtrack.

Here are a few of my favorites:

2) When the Millenium Falcon goes into hyperspace at the end of ESB.

Nothing like suddenly resolving to a major chord reinforced through four octaves to get the audience's pulse racing. ;-)

[Datameister 2,044]

Do you really have most of the TLC score, or is it just the approximately half of the score that's made the rounds?

[Ollie 1,059]

Too many to name, but I agree with most of the choices here.

[Jay 37,374]

2) When the Millenium Falcon goes into hyperspace at the end of ESB.

Wow, that's a great choice

[Brónach 1,302]

The statement of Vader's theme in Jedi Master Revealed, with the harp.

[Wojo 2,453]

1:28-1:41 of "Man Against Beast" in Jaws.

[Gruesome Son of a Bitch 6,488]

When the Ewok dies

The b section of the Amazing Stories theme

The b theme in the Towering Inferno main title when you see the Golden Gate Bridge

That part in Presenting the Hook where Tink peeks out of the hat and smiles

When Kevin first sees New York

When Kevin looks down the zip line course to the treehouse

[Delorean90 42]

Here are a few of my favorites:

2) When the Millenium Falcon goes into hyperspace at the end of ESB.

Nothing like suddenly resolving to a major chord reinforced through four octaves to get the audience's pulse racing. ;-)

I love the five chords that build to it, though. It's just a great bit all around.

[Datameister 2,044]

Yes!

[Gruesome Son of a Bitch 6,488]

That part in Animal's Camera where he's jumping over the cars to catch Godzilla.

[Trent B 337]

How about the Rebel fanfare that plays in the cue "Get 'Em, R2!"?

[Basil 4]

Just about every day I find myself listening to "Riddle of Steel / Riders of Doom" from Conan the Barbarian. More specifically, 2:12 - 2:35 and 3:13 - 3:28. But the cue as a whole is great.

[King Mark 3,631]

Here are a few of my favorites:

2) When the Millenium Falcon goes into hyperspace at the end of ESB.

Nothing like suddenly resolving to a major chord reinforced through four octaves to get the audience's pulse racing. ;-)

I love the five chords that build to it, though. It's just a great bit all around.

I like that 5 note "exclamation point" when Han enters Echo Base (I'm not sure it was meant to go there though as it's placed in Arrival on Dagobah at 3.25 on the SE )

[Demondm810 399]

How about the Rebel fanfare that plays in the cue "Get 'Em, R2!"?

Haha, I love that.

[indy4 155]

Could be the trombonist in me, but I love the last 40 or so seconds of "Main Titles and Storm Sequence." Pure brilliance.

"Abduction of Lucy" is great when the trombones pick up the usual horn motif in a much more aggressive way.

The trombone feature in "The Hunt" from The Final Conflict is fantastic.

The burst of trumpet in "20 Years Later" from JNH's Treasure Planet.

The main theme from E.T. as heard after the big brass fanfares in "Far From Home/E.T."

[Charlie Brigden 7]

Here are a few of my favorites:

2) When the Millenium Falcon goes into hyperspace at the end of ESB.

Nothing like suddenly resolving to a major chord reinforced through four octaves to get the audience's pulse racing. ;-)

I love the five chords that build to it, though. It's just a great bit all around.

I like that 5 note "exclamation point" when Han enters Echo Base (I'm not sure it was meant to go there though as it's placed in Arrival on Dagobah at 3.25 on the SE )

I always loved that too, even though as you say it's totally misplaced. But it works in the film.

The bit at the end of ESB is just greatness, period. I don't think I've ever heard such good tension writing than when Vader is force-chatting to Luke as the Falcon is trying to get away from the Executor.

[Brónach 1,302]

Anytging from The Scroll/To Pankot Palace. More exactly, the use of the flute and the other instrument (what is it?) at the beggining, and the entrance of the percussion later at 2:56.

[Melange 446]

Just about every day I find myself listening to "Riddle of Steel / Riders of Doom" from Conan the Barbarian.

More specifically, 2:12 - 2:35 and 3:13 - 3:28. But the cue as a whole is great.

Yep, some great stuff

.

[Trent B 337]

Another piece of music I love is from Star Trek (2009) is the cool variation of the main theme plays when the Enterprise emerges above Titan. I can't wait to hear that piece in all its glory on the 2-CD Deluxe Edition set. I mean grant there's very little sfx on Joe's set but to hear it with out sfx will be even cooler.

[Brónach 1,302]

Also from Gia's Trek, tha brass statement of the Crew theme in Enterprising Young Men or (I think) when Jim, Sulu and Olsen are heading to the small shuttle before the space jump.

[Charlie Brigden 7]

A few TOS-era Star Trek ones:

The part of 'The Enterprise' when we first see the lady, and it's almost choral in a religious moment kind of way.

The opening of 'Leaving Drydock' when all the lights switch on.

'Amazing Grace'.

The underscoring of the shot of the Enterprise as it swoops over the frame from the left, just after the Bird of Prey cloaks after spotting her.

'Home Again', with both Courage's fanfare and main theme scoring the reveal and departure of the Enterprise-A.

The 'Shuttle To Enterprise' cue from when Kirk, Spock and McCoy leave their campsite to their arrival in the shuttle bay.

Kirk's final log, and subsequent signatures.

[Jay 37,374]

Also from Gia's Trek, tha brass statement of the Crew theme in Enterprising Young Men or (I think) when Jim, Sulu and Olsen are heading to the small shuttle before the space jump.

Ah yes! I called that the "B Theme" in my breakdown; It should be on the new CD in "Jehosafats"!

http://jwfan.com/forums/index.php?showtopic=17627

[Gruesome Son of a Bitch 6,488]

When the bullets jump into Eddie Valiant's gun

The beginning of The Stegosaurus when they first see the dinos

[Naïve Old Fart 9,554]

The part in "Adventures On Earth" ("Esacpe/Chase/Saying Goobye" MY ARSE!!!!!!!) where there is the build up to the Flying Theme as the E.T., and the guys approach the men with guns (walkie-talkies, MY ARSE!!!!!!!!!!!!) and there are the jump-cuts on Elliot. Magic!

Also, when Paul Newman (and the audiences) first sees The Glass Tower. Oh, wow! Amp up to 11, please!

[BTR1701 59]

Another piece of music I love is from Star Trek (2009) is the cool variation of the main theme plays when the Enterprise emerges above Titan. I can't wait to hear that piece in all its glory on the 2-CD Deluxe Edition set. I mean grant there's very little sfx on Joe's set but to hear it with out sfx will be even cooler.

One of the most fantastic cues in all of film music for me is Goldsmith's "The Enterprise" from the first Trek film.

[Datameister 2,044]

"Adventures On Earth" ("Esacpe/Chase/Saying Goobye" MY ARSE!!!!!!!)

Try "The Rescue - The Bike Chase - The Departure" then. Original cue titles FTW!

[Gruesome Son of a Bitch 6,488]

I disagree. Adventure on Earth is still preferable. That's one of JW's all-time best track titles.

I thought of a snippet yesterday. "Wheatfield" from Twister.

[Delorean90 42]

A few excellent openings to scores in the form of the first bits of their main title cues:

Star Trek: The Motion Picture -- One of THE all-time greatest beginnings to a main title cue.

The Wind and the Lion - The opening percussion, horn fanfares, and initial statement of the main theme. Aah...so satisfying.

And actually, the entirety of the main titles from How the West Was Won, but I love the final, rollicking statement of the main theme. That snare drum pattern just really drives it home. Great fun!

[Trent B 337]

Star Trek: The Motion Picture -- One of THE all-time greatest beginnings to a main title cue.

Which version? The original theatrical one or the one from the Director's cut?

Another part I love is from Independence Day when Russell Case goes to fire the missile and the horns play that portion of the music, always awesome to hear.

[Andy 4,142]

Star Trek: The Motion Picture -- One of THE all-time greatest beginnings to a main title cue.

Which version? The original theatrical one or the one from the Director's cut?

I like the original version with the pronounced snare percussion right off the bat.

Another part I love is from Independence Day when Russell Case goes to fire the missile and the horns play that portion of the music, always awesome to hear.

Good one! I love that bit. I call it the "Oh Sh*t Horns".

[Trent Hoyt 13]

The scene in Wrath of Khan when Kirk slides down the ladder to go see Spock. You guys know the scene. I just can't explain it in musical terms.

[Taikomochi 1,136]

1:50-end of "The Entrapment" from Alien 3. This is probably the best moment of any score I can think of. It works so well in the film too. It's brilliant.