Dixon Hill 4,234 Posted January 30, 2014 Share Posted January 30, 2014 I love me some Farben. Link to comment Share on other sites More sharing options...
Sharkissimo 1,973 Posted February 18, 2014 Share Posted February 18, 2014 I've just looked at You Bred Raptors again, and I've just released we've got a analysis out of the first chord or 'collection' but not the second. From top to bottom, the second the chord is C#(which has now become a pedal point)-E-G-B-D#-Bb-C-D-F. How the hell do you break that down? It's an incredibly dissonant sonority, creating a total chromatic saturation from Bb-G - 9 intervals. This aggregate has got more inner chords than the last one (EmM7-G-Bbadd9), yet it is more appropriate to stick to breaking it down into pitch sets? Link to comment Share on other sites More sharing options...
Ludwig 1,120 Posted February 19, 2014 Share Posted February 19, 2014 How the hell do you break that down?I'd go by the orchestration, which gives this: Link to comment Share on other sites More sharing options...
Sharkissimo 1,973 Posted February 20, 2014 Share Posted February 20, 2014 Since I've been trying to get you onto Rosenman recently, I always thought this cue reminded me of his writing a great deal. The way Williams orchestrates this for keyboards/piano doubled by strings and staggered entrances of solo woodwinds, with the fibre muted and stopped horns outlining the bassoon/viola pedal point below, along with the carefully placed hairpins. It's like a throwback to some of his work on the Irving Allen disaster flicks.Regarding that seriously chilling open cluster in the second chord, I've just noticed that if you collapse it into the 2-line octave (C5, C#5, D5 etc.) you can revert it back to the original voicing by doing this bit of octave transferral: C -> 1 up, C# -> 1 down, D -> 1 up, D# -> remains the same, E -> 1 down, F -> 1 up. Discounting the D#, it's amazing how consistent it is.Another point - that cluster that spans a perfect fourth gets transposed down a tone (T10) for the next chord (A#-B in muted trombones, C-C# in muted horns (both doubled by interlocking violins and violas), and the D-Eb slide in the 12 celli. Must be more than a sheer coincidence.Shit just got real. Muad'Dib 1 Link to comment Share on other sites More sharing options...
Muad'Dib 1,802 Posted February 20, 2014 Share Posted February 20, 2014 Dat picture! Link to comment Share on other sites More sharing options...
Ludwig 1,120 Posted February 20, 2014 Share Posted February 20, 2014 Another point - that cluster that spans a perfect fourth gets transposed down a tone (T10) for the next chord (A#-B in muted trombones, C-C# in muted horns (both doubled by interlocking violins and violas), and the D-Eb slide in the 12 celli. Must be more than a sheer coincidence.Yes, I would say that's significant too. And in typical Williams style, it's not exactly the same as before. Now the cluster is sounded with closed rather than open spacing, and the fourth is completely filled in with semitones. The same, but different. Link to comment Share on other sites More sharing options...
WilliamsStarShip2282 308 Posted March 14, 2014 Share Posted March 14, 2014 Where can i find the scans to all this stuff? Link to comment Share on other sites More sharing options...
Sharkissimo 1,973 Posted March 14, 2014 Share Posted March 14, 2014 Just PM me. Link to comment Share on other sites More sharing options...
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