SzPeti42 49 Posted February 10, 2016 Share Posted February 10, 2016 On 2016. 02. 08. at 5:24 PM, CapitalJ said: I always loved that little power march at 7:31. March of the Resistance in The Force Awakens reminded me of this cue. Both get stuck in my head a lot. Me too, I was thinking about posting this here, now I guess I won’t have to It brings back memories from when I was 5, it was one of the first little musical moments that stood out to me besides the main themes and maybe the suspense-panic motif. CapitalJ 1 Link to comment Share on other sites More sharing options...
Popular Post Alex 2,835 Posted February 11, 2016 Popular Post Share Posted February 11, 2016 2.03 - 2.14 . I love the way the French Horn and the Trumpet go back and fourth Taikomochi, CapitalJ, Cerebral Cortex and 1 other 4 Link to comment Share on other sites More sharing options...
Red 75 Posted February 11, 2016 Share Posted February 11, 2016 1:57 to 2:11 So wistful and bittersweet. It's moments like this that speaks to what being a child is so profoundly to me. It essentially is childhood coded in music. CapitalJ 1 Link to comment Share on other sites More sharing options...
Balahkay 627 Posted February 11, 2016 Author Share Posted February 11, 2016 31 minutes ago, Red said: 1:57 to 2:11 So wistful and bittersweet. It's moments like this that speaks to what being a child is so profoundly to me. It essentially is childhood coded in music. Hopefully Williams will channel some of this magic for The BFG. mrbellamy 1 Link to comment Share on other sites More sharing options...
CapitalJ 4 Posted February 11, 2016 Share Posted February 11, 2016 On 2/10/2016 at 10:16 AM, SzPeti42 said: Me too, I was thinking about posting this here, now I guess I won’t have to It brings back memories from when I was 5, it was one of the first little musical moments that stood out to me besides the main themes and maybe the suspense-panic motif. Same Here. I was probably around the same age when I first saw the movie, and it brings back memories every time I listen to the soundtrack. It's like watching the movie in my head just by listening to the score. I remember that part was right after they showed the valley of dinosaurs, then they cut to the jeeps rolling up to the visitor center. 17 hours ago, Red said: 1:57 to 2:11 So wistful and bittersweet. It's moments like this that speaks to what being a child is so profoundly to me. It essentially is childhood coded in music. You said it. It is essentially childhood coded in music. Listening to his scores brings back so many memories watching these movies. On 10/30/2015 at 0:24 AM, nightscape94 said: 1:41 - 2:09 We've all heard the Star Wars "theme" and the concert suite so many times that I think it can be easy to forget how wonderfully effective Williams' scoring is in the moments immediately after the crawl and its weight and power in the actual movie experience. This is an incredibly important section in terms of setting the transitionary tone out of the bombastic title march and into the movie proper. The way it shifts with the strings climbing up frantically as the words disappear into a series of ominous chords, heightening the tension, only to allow us momentary pause as we reflect on the stars. This fleeting meditation gives way to more rushing strings, giving us yet another pang of unease as they rise rise but we descend. A new alien planet system is then announced with a massive timpani roll and gong hit before ramping up into a fanfare flourish which is abbreviated due to the sudden overhead appearance of visual chaos. All of this juking around purposefully puts you off balance and is musically striking at the same time. Williams prepares you so perfectly for all of this in the span of about 25 seconds that it's ridiculous. Nicely put, couldn't agree more. Link to comment Share on other sites More sharing options...
mrbellamy 6,278 Posted February 12, 2016 Share Posted February 12, 2016 Suddenly got that little tag at the end of "Attack on Jakku Village" stuck in my head today. Vintage Star Wars transition! Not Mr. Big 1 Link to comment Share on other sites More sharing options...
Not Mr. Big 4,639 Posted February 12, 2016 Share Posted February 12, 2016 5 minutes ago, mrbellamy said: Suddenly got that little tag at the end of "Attack on Jakku Village" stuck in my head today. Vintage Star Wars transition! It's awesome. The entire track is great. Not a single dull moment. Link to comment Share on other sites More sharing options...
Jay 37,346 Posted February 12, 2016 Share Posted February 12, 2016 27 minutes ago, mrbellamy said: Suddenly got that little tag at the end of "Attack on Jakku Village" stuck in my head today. Vintage Star Wars transition! Yea, good call! Link to comment Share on other sites More sharing options...
Gruesome Son of a Bitch 6,488 Posted February 13, 2016 Share Posted February 13, 2016 When E.T. brings the flower back to life > everything Link to comment Share on other sites More sharing options...
leeallen01 2,136 Posted February 16, 2016 Share Posted February 16, 2016 I adore the dancing strings of Finn's motif in counterpoint to Poe's Theme at 5:23 in 'Jedi Steps and Finale.' Link to comment Share on other sites More sharing options...
Not Mr. Big 4,639 Posted February 17, 2016 Share Posted February 17, 2016 3:11 - 3:45-or-so of Mr. Adams Takes the Case. Cerebral Cortex 1 Link to comment Share on other sites More sharing options...
Bellosh 3,416 Posted February 24, 2016 Share Posted February 24, 2016 The rebel fanfare at 1:54 in The Wampa's Lair / Vision of Obi Wan / Snowspeeders Take Flight Link to comment Share on other sites More sharing options...
Matt C 452 Posted February 25, 2016 Share Posted February 25, 2016 2:58-4:11. I love how "Rey's Theme" transforms from its hesitant form into a confident and heroic statement. 2:40-2:58. I'll get to more later... Link to comment Share on other sites More sharing options...
Gruesome Son of a Bitch 6,488 Posted February 25, 2016 Share Posted February 25, 2016 I was going to post examples from The Sword Fight from Hook, but it ended up being the entire thing. nightscape94 1 Link to comment Share on other sites More sharing options...
mrbellamy 6,278 Posted February 25, 2016 Share Posted February 25, 2016 Something about this little bit in "Recollections" just gets me. Link to comment Share on other sites More sharing options...
Incanus 5,714 Posted February 25, 2016 Share Posted February 25, 2016 4 hours ago, E.T. and Elliot said: I was going to post examples from The Sword Fight from Hook, but it ended up being the entire thing. The whole Ultimate War is such a terrific sequence full of great little musical moments. Link to comment Share on other sites More sharing options...
BloodBoal 7,538 Posted February 25, 2016 Share Posted February 25, 2016 It's just loud. Link to comment Share on other sites More sharing options...
Incanus 5,714 Posted February 25, 2016 Share Posted February 25, 2016 Humbug! Leave classic cues alone and go put on some avatar for heaven's sake! Link to comment Share on other sites More sharing options...
nightscape94 965 Posted February 25, 2016 Share Posted February 25, 2016 5 hours ago, Incanus said: Leave classic cues alone The whole score is classic! Link to comment Share on other sites More sharing options...
Not Mr. Big 4,639 Posted February 27, 2016 Share Posted February 27, 2016 1:16 - 1:30 of Entry into the Great Hall/The Banquet. Cerebral Cortex 1 Link to comment Share on other sites More sharing options...
mrbellamy 6,278 Posted March 5, 2016 Share Posted March 5, 2016 Cerebral Cortex 1 Link to comment Share on other sites More sharing options...
Popular Post KK 3,307 Posted March 8, 2016 Popular Post Share Posted March 8, 2016 7:23 onwards. Or "What Is Your Wish" on the La-La Land set for unabridged/uncut version. One of the most poignant passages of Williams' career. Sharkissimo, artguy360, Loert and 1 other 4 Link to comment Share on other sites More sharing options...
Taikomochi 1,136 Posted March 8, 2016 Share Posted March 8, 2016 An outstanding moment in one of Williams' crowning achievements. That said, I think I prefer the film/LLL3CD version that has the choir rather than the solo vocalist. Both are amazing, though. Link to comment Share on other sites More sharing options...
KK 3,307 Posted March 8, 2016 Share Posted March 8, 2016 Me too! But I couldn't find that version on youtube. Taikomochi 1 Link to comment Share on other sites More sharing options...
nightscape94 965 Posted March 9, 2016 Share Posted March 9, 2016 20 hours ago, Taikomochi said: That said, I think I prefer the film/LLL3CD version that has the choir rather than the solo vocalist. Both are amazing, though. Yes! Link to comment Share on other sites More sharing options...
Incanus 5,714 Posted March 9, 2016 Share Posted March 9, 2016 4 hours ago, nightscape94 said: Yes! Verily yea! And I too prefer the choir over Barbara Bonney's humming in this case. Link to comment Share on other sites More sharing options...
Dixon Hill 4,234 Posted March 10, 2016 Share Posted March 10, 2016 The choral version is better than anything. Link to comment Share on other sites More sharing options...
CapitalJ 4 Posted March 10, 2016 Share Posted March 10, 2016 At 0:07 and 0:39 I was watching Raiders of the Lost Ark awhile ago, and I noticed the music when Indiana is on the German Sub. It reminds me of a part from one of the Star Wars scores, I'm pretty sure it was in the prequels, but I can't find it. I remember it was one of the victory music songs in Star Wars Battlefront 2. Link to comment Share on other sites More sharing options...
Loert 2,511 Posted March 10, 2016 Share Posted March 10, 2016 I love the trumpets that play during Indy's flight to Venice in TLC: https://dl.dropboxusercontent.com/u/18637418/venice.mp3 They remind me a bit of the trumpets in Farewell and the Trip from TFA (starting from 0:48). Has that same celebratory quality: (interestingly, the woodwinds at about 0:10 in that TLC excerpt are reminiscent of the woodwinds at 1:51 in Indy's Very First Adventure from the same score: ) CapitalJ and Cerebral Cortex 2 Link to comment Share on other sites More sharing options...
Cerebral Cortex 3,357 Posted March 11, 2016 Share Posted March 11, 2016 Speaking of The Last Crusade, I've always been fond of this bit at 2:30 to 2:35 where Williams tricks us into thinking we're getting a full statement of Indy's theme but instead quickly switches back to the Nazi theme. Loert and CapitalJ 2 Link to comment Share on other sites More sharing options...
Sharkissimo 1,973 Posted March 11, 2016 Share Posted March 11, 2016 Quote This video is not available. Ugh! Auto-uploading #YouTube channels. I hate those guys. Dixon Hill and Loert 2 Link to comment Share on other sites More sharing options...
Cantus Venti 13 Posted March 31, 2016 Share Posted March 31, 2016 The piano counter-melody: Then of course 4:33, imo John Williams' most adventurous crown achievement. Truly two spectacular birds with one stone. Link to comment Share on other sites More sharing options...
Dixon Hill 4,234 Posted March 31, 2016 Share Posted March 31, 2016 What makes that his most adventurous crown achievement? Link to comment Share on other sites More sharing options...
Cantus Venti 13 Posted March 31, 2016 Share Posted March 31, 2016 To me, it does, though perhaps "adventure" is a vague word, but the kind of adventure that is moreso vast and broadly epic. Indiana Jones is going for a different style of adventure I didn't mention: more of progressive, humorous and playful adventure, and not vastly epic adventure. A couple indicators would be that JP sounds incredibly "giant" like Star Wars main theme, but the difference is (a) JP is more collected in its bold moments, not filling simply one tone of loud bright reverb throughout the whole like Star Wars, and (b) it has a slightly more sophisticated sweeping melody which is grouped up into a few bold calls, thereby (a) and (b,) developing more emotional response. The second call carries stronger than the first by emphasizing three forte beats of bass and strings, the third of which ends on the terrific IV chord of which 'collected deep brass' resonates particularly "gigantically" and epically, and then the third call, which is more of a counter-response to IVs, mimicks that by dropping down to III. Both of these call-and-response chords (IV and II) are incredibly vast and giant-sounding giving a greater emotional deviation and development than Star Wars, along with the stronger and richer trumpet playing on top of this that the Star Wars theme seems to mask in its messier sounds of orchestration. These are the kinds of rich collected vibrations, the kinds of sweeping tones of adventure, which resonate boldly across canyons and echo into the deep. I'm sure I could dig a bit deeper into why to me it's his most adventurous or epic crown achievement compared to Star Wars main theme or Indiana Jones, it's difficult to explain. Link to comment Share on other sites More sharing options...
Loert 2,511 Posted March 31, 2016 Share Posted March 31, 2016 26 minutes ago, Cantus Venti said: To me, it does, though perhaps "adventure" is a vague word, but the kind of adventure that is moreso vast and broadly epic. Indiana Jones is going for a different style of adventure I didn't mention: more of progressive and humorous adventure, and not vast or broadly epic adventure. A couple indicators would be that JP sounds incredibly "giant" like Star Wars main theme, but the difference is (a) JP is more collected in its bold moments, not filling simply one tone of loud bright reverb throughout the whole like Star Wars, and (b) it has a slightly more sophisticated melody which is grouped up into these few bold calls, thereby (a) and (b,) developing more emotional response. The second call ends on the IV chord of which collected deep brass sounds particularly "gigantic" or epic, and then the third call, which is more of a counter-response to IVs, mimicks that by dropping down to III. Both of these call-and-response chords are incredibly vast and giant-sounding giving a greater emotional deviation/development than Star Wars, along with the stronger and richer trumpet playing on top of this that the Star Wars theme seems to mask in its messier sounds of orchestration. These are the kinds of rich and collected vibrations, the kinds of tones of adventure, which resonate boldly across canyons and echo into the broad deep. I'm sure I could dig a bit deeper into why to me it's his most adventurous or epic crown achievement compared to Star Wars main theme or Indiana Jones, it's difficult to explain. Can you explain a little more what you mean by second call, third call, counter-response...? Where are those in the video? (which almost gave me a seizure, btw...) Link to comment Share on other sites More sharing options...
Sharkissimo 1,973 Posted March 31, 2016 Share Posted March 31, 2016 A little learning is a dangerous thing. Drink deep, or taste not the plasma pool. mrbellamy 1 Link to comment Share on other sites More sharing options...
Dixon Hill 4,234 Posted March 31, 2016 Share Posted March 31, 2016 Link to comment Share on other sites More sharing options...
Cantus Venti 13 Posted April 1, 2016 Share Posted April 1, 2016 Another questionable but incredibly genius move by Williams putting this theme as the celebration for the major resolve of the film. The theme that's never used as the resolve... finally gets, resolved! Brilliant. Ending sequence begins at 13:20 and the theme plays at 13:52 - 13:55 (the notes G G E repeating in the key of C# major. The harmonies C major, C major, C# minor repeating in the resolved key of C# major.) Absolutely lovely. The theme appears to be celebrating Vader's frustration mostly, hahaha, from the audience's perspective. 4 hours ago, loert said: Can you explain a little more what you mean by second call, third call, counter-response...? Where are those in the video? (which almost gave me a seizure, btw...) Hmm. While there's a certain incompletion to focusing on only harmonic aspects, the park theme follows the harmonic progression: I - II(/I) - vi - iii - IV (4:39-4:40) - vi - V - III (4:42) - vi - IV - VII4. The call and response melodies are almost identical too but for the last note dropping down a half step. Link to comment Share on other sites More sharing options...
Sharkissimo 1,973 Posted April 1, 2016 Share Posted April 1, 2016 It's more helpful to think of the III as a V/vi secondary dominant, helping to further tonicise Gm, which has been already been given its localised i-VII-VI, through the vi-iii6-VI move. Have a look at this thread I made a while back. Cantus Venti 1 Link to comment Share on other sites More sharing options...
Cantus Venti 13 Posted April 1, 2016 Share Posted April 1, 2016 5 hours ago, Sharky said: It's more helpful to think of the III as a V/vi secondary dominant, helping to further tonicise Gm, which has been already been given its localised i-VII-VI, through the vi-iii6-VI move. Have a look at this thread I made a while back. You are absolutely correct! Thanks for showing me that, as I'm not as familiar with minor keys. It makes the afformentioned IV interpreted as so in the smaller context of Bb major's starting tonality, a move JWs pulls often, but clearly the rightful relative VI (Neapolitan 6th chord) as you've pointed out in the appropriate context which then needs to be resolved to V. IV and the Neapolitan 6th sound a lot alike. This play on being interpreted in both major and minor is an exact reason why I'd say the theme is so sophisticated. He's essentially beginning the theme on III, then to VI, to trick us into resolving this Neapolitan, not later twisting a III harmony into it that sounds too natural. There seems to be a catchiness to his roundabout progression to V, an "adventure" of its own which demonstrates a true intention to inevitably go to V. Link to comment Share on other sites More sharing options...
Loert 2,511 Posted April 1, 2016 Share Posted April 1, 2016 On 01/04/2016 at 1:49 AM, Cantus Venti said: Hmm. While there's a certain incompletion to focusing on only harmonic aspects, the park theme follows the harmonic progression: I - II(/I) - vi - iii - IV (4:39-4:40) - vi - V - III (4:42) - vi - IV - VII4. The call and response melodies are almost identical too but for the last note dropping down a half step. Thank you. I just wasn't sure what you meant by call and response. The bolded symbol should really be iii btw (or v/vi). Cerebral Cortex and Sharkissimo 2 Link to comment Share on other sites More sharing options...
Sharkissimo 1,973 Posted April 1, 2016 Share Posted April 1, 2016 17 hours ago, Cantus Venti said: You are absolutely correct! Thanks for showing me that, as I'm not as familiar with minor keys. It makes the afformentioned IV interpreted as so in the smaller context of Bb major's starting tonality, a move JWs pulls often, but clearly the rightful relative VI (Neapolitan 6th chord) as you've pointed out in the appropriate context which then needs to be resolved to V. You have to bear in mind that Gm is just the relative minor of Bb. Functionally the vi is a tonic substitute--the strongest there is, with both chords sharing two pitches. So it functions in both Bb and Gm at the same time, but with one key centre temporarily given priority over the other. The theme's A section is an eight measure period composed of a four measure antecedent (ending on a half-cadence of A with a 4-3 suspension) and a four measure consequent (another half-cadence prepared by a suspension, now on D). The D cadence makes sense as both a secondary dominant in the context of the A section, and as a primary dominant of Gm--the new tonality of the B section. On the other hand, the A is an unfilled secondary dominant of D, a sort of deceptive cadence that's function is only revealed in hindsight, once we reach measure eight. You might find academic piece below by Frank Lehman interesting. It's less tonally orthodox and coins a phenomenon found in film music as chromatically modulating cadential resolutions (CMCRs). Lehman suggests that these are employed at crucial moments to intensify (rather than hide) cuts, and create a sense of awe, wonder and excitement, The feeling of a held breath or your heart skipping a beat. Type 0 = Down a minor third Type I = Up a minor third Type II = Down a major third Type III = Up a major third Type IV = Up a major second Type V = Down a major second Type VI = Up an augmented fourth It's at [6.4] towards the very end of the paper. http://www.mtosmt.org/issues/mto.13.19.4/mto.13.19.4.lehman.html Cerebral Cortex 1 Link to comment Share on other sites More sharing options...
Cantus Venti 13 Posted April 2, 2016 Share Posted April 2, 2016 9 hours ago, Sharky said: You have to bear in mind that Gm is just the relative minor of Bb. Functionally the vi is a tonic substitute--the strongest there is, with both chords sharing two pitches. So it functions in both Bb and Gm at the same time, but with one key centre temporarily given priority over the other. And this is not atypical, but the way Williams makes it work in this piece is very effective, likely due to the resolving intention you mentioned. II does act like a secondary dominant to V as well, although much less necessarily to the constitution of the theme it seems. Out of all the examples in the article, example 28 seems the most harmonically ingenious and well-executed. The theme definitely plays around. Thanks for sharing that article. Link to comment Share on other sites More sharing options...
Loert 2,511 Posted April 2, 2016 Share Posted April 2, 2016 That screech at 0:06 is the scariest shit I ever heard! Cerebral Cortex 1 Link to comment Share on other sites More sharing options...
Sharkissimo 1,973 Posted April 2, 2016 Share Posted April 2, 2016 12 minutes ago, loert said: That screech at 0:06 is the scariest shit I ever heard! "Wrong thread, but thanks!" Link to comment Share on other sites More sharing options...
Loert 2,511 Posted April 3, 2016 Share Posted April 3, 2016 You're welcome Ben Link to comment Share on other sites More sharing options...
DarthDementous 1,059 Posted April 3, 2016 Share Posted April 3, 2016 this is my favourite rendition of March of the Resistance. many thanks to the dedicated jwfanner that ripped all this unreleased music: I really love this theme. Cerebral Cortex 1 Link to comment Share on other sites More sharing options...
Gruesome Son of a Bitch 6,488 Posted April 3, 2016 Share Posted April 3, 2016 Link to comment Share on other sites More sharing options...
Popular Post Cerebral Cortex 3,357 Posted April 3, 2016 Popular Post Share Posted April 3, 2016 0:56 to 1:20 of The Tide Turns/The Death of Darth Maul from The Phantom Menace, where Williams is able to use both Duel of the Fates and the Force theme and play them against each other (with great success). Not Mr. Big, SingeMoisi, artguy360 and 2 others 5 Link to comment Share on other sites More sharing options...
Loert 2,511 Posted April 4, 2016 Share Posted April 4, 2016 On 03/04/2016 at 10:54 PM, Cerebral Cortex said: 0:56 to 1:20 of The Tide Turns/The Death of Darth Maul from The Phantom Menace, where Williams is able to use both Dual of the Fates and the Force theme and play them against each other (with great success). I feel like the entire score is a buildup to that moment. It's just awesome! Here's an excerpt I really like: It's so cool how the music builds...then builds again...then dramatically collapses in on itself. Terrifying and awe-inspiring at once. (Can anyone guess where this is from?) Cerebral Cortex and Not Mr. Big 2 Link to comment Share on other sites More sharing options...
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