Edmilson 7,262 Posted September 16, 2019 Share Posted September 16, 2019 1 minute ago, Jay said: See here to understand better. Thanks! So, Epic is now part of Sony, right? That means no Legends of the Fall expansion for the foreseeable future If someone had just expanded the score a little earlier (like, say, in 2014, the movie's 20th anniversary)... It's one of the most beloved Horner scores of the 90s, I really wonder why they didn't decided to expand it. Link to comment Share on other sites More sharing options...
Jay 37,042 Posted September 16, 2019 Share Posted September 16, 2019 yes, someone compiled a list of Horner scores under Sony Music in this thread https://filmscoremonthly.com/board/posts.cfm?threadID=134259&forumID=1&archive=0 Link to comment Share on other sites More sharing options...
Edmilson 7,262 Posted September 16, 2019 Share Posted September 16, 2019 17 minutes ago, Jay said: yes, someone compiled a list of Horner scores under Sony Music in this thread https://filmscoremonthly.com/board/posts.cfm?threadID=134259&forumID=1&archive=0 Lot's of good stuff besides Legends: Sneakers, Deep Impact, Jumanji, Enemy at the Gates, the Zorro scores... Gosh, that's terribly sad. Legends at least had a bootleg that leaked decades ago, the other ones weren't so lucky. Link to comment Share on other sites More sharing options...
Jay 37,042 Posted September 16, 2019 Share Posted September 16, 2019 There are boots (well, recording session leaks) for Sneakers and Jumanji, plus the isolated score for Jumanji Link to comment Share on other sites More sharing options...
Gruesome Son of a Bitch 6,488 Posted September 16, 2019 Share Posted September 16, 2019 The Patriot and Sneakers aren't even on Spotify. Not Mr. Big 1 Link to comment Share on other sites More sharing options...
crumbs 14,274 Posted September 17, 2019 Share Posted September 17, 2019 Mike demanded they be removed from Spotify to create demand for future expansions. Link to comment Share on other sites More sharing options...
Gruesome Son of a Bitch 6,488 Posted September 17, 2019 Share Posted September 17, 2019 They're worthless. 10 dollars from a vendor on Amazon Marketplace. But I take it, I remove it from Spotify and it becomes priceless. igger6 1 Link to comment Share on other sites More sharing options...
Edmilson 7,262 Posted September 17, 2019 Share Posted September 17, 2019 3 hours ago, Jay said: There are boots (well, recording session leaks) for Sneakers and Jumanji, plus the isolated score for Jumanji Thanks for clarifying, I really didn't know. Even so, it is still bad that they won't be officially expanded. I would love for a C&C version of Horner's Zorro scores. Firstly, because I've heard that there's some quite substantial stuff missing, and secondly... I was never that fan of the scores, so maybe a C&C could change my mind. Link to comment Share on other sites More sharing options...
Thor 7,385 Posted September 17, 2019 Author Share Posted September 17, 2019 God, must every single thread about a film or score develop into C&C discussions? Why not cherish the album as is, and point out highlights within? Link to comment Share on other sites More sharing options...
Holko 9,399 Posted September 17, 2019 Share Posted September 17, 2019 Why not try to cherish the full score, the actual starting point, and inevitably be annoyed you are not allowed to take it on its own, only in butchered form? Link to comment Share on other sites More sharing options...
Jurassic Shark 11,956 Posted September 17, 2019 Share Posted September 17, 2019 11 minutes ago, Thor said: God, must every single thread about a film or score develop into C&C discussions? Why not cherish the album as is, and point out highlights within? The highlight is always the forgettable source cue that wouldn't even be included on a C&C presentation. Link to comment Share on other sites More sharing options...
Thor 7,385 Posted September 17, 2019 Author Share Posted September 17, 2019 It would just be incredibly refreshing to have a thread about a certain title, and then have discussions about the film, how the score works in context or general or specific remarks about the album as is. Without the endless diatribes about 'missing music' and whatnot. You know, like we could some 15-20 years ago. But yes, a pipe dream, I know. Link to comment Share on other sites More sharing options...
Jurassic Shark 11,956 Posted September 17, 2019 Share Posted September 17, 2019 7 minutes ago, Thor said: It would just be incredibly refreshing to have a thread about a certain title, and then have discussions about the film, how the score works in context or general or specific remarks about the album as is. Without the endless diatribes about 'missing music' and whatnot. You know, like we could some 15 years ago. But yes, a pipe dream, I know. I guess you'll just have to make your own thread... well, whaddya know! Thor and Not Mr. Big 2 Link to comment Share on other sites More sharing options...
Bayesian 1,348 Posted September 18, 2019 Share Posted September 18, 2019 On 9/17/2019 at 4:32 AM, Thor said: It would just be incredibly refreshing to have a thread about a certain title, and then have discussions about the film, how the score works in context or general or specific remarks about the album as is. Without the endless diatribes about 'missing music' and whatnot. You know, like we could some 15-20 years ago. But yes, a pipe dream, I know. Does your affinity for OSTs mean that you also never have a problem with what the composer or album producer includes or doesn’t include from the full score? I ask seriously. Because there’s that thread that talks about JW’s missteps with OSTs that some would argue is borderline sacrilege. If even he is fallible when it comes to album programming, surely there are plenty of OSTs that you must be glad came out C&c so that you could build your own perfect playlist. I just wonder, is all. Link to comment Share on other sites More sharing options...
Thor 7,385 Posted September 18, 2019 Author Share Posted September 18, 2019 8 hours ago, Bayesian said: Does your affinity for OSTs mean that you also never have a problem with what the composer or album producer includes or doesn’t include from the full score? Yes, pretty much. The full score is irrelevant to me; it's mere raw materials and "leftovers" from the film. I require that he or she has sat down, selected his or her highlights, and then arranged them in an order that makes for best listening, hopefully in the 40-60 minute region (although it depends somewhat on the scope of the score, of course). So two things: This creative/artistic act has to have taken place, and it should be representative of the score. Then it qualifies as a proper soundtrack album to me. So if a composer chooses to present a score C&C, for example, it's automatically "disqualified". The creative act has not taken place. So it's a never blind support to the composer no matter what. As for JW, he's never created any missteps in any of his OSTs, as far as I can recall. He's an absolute master at that. Perhaps in JFK, where the non-score cues don't always mesh well with the score cues, but I'm guessing that was not his decision. And perhaps -- since this thread is about THE PATRIOT -- there's a little bit of padding here that could have been omitted for a more succinct experience. Link to comment Share on other sites More sharing options...
Unlucky Bastard 7,782 Posted September 18, 2019 Share Posted September 18, 2019 Even when Williams fucks up, it's a happy accident! Link to comment Share on other sites More sharing options...
Jurassic Shark 11,956 Posted September 18, 2019 Share Posted September 18, 2019 10 minutes ago, Thor said: Yes, pretty much. The full score is irrelevant to me; it's mere raw materials and "leftovers" from the film. I require that he or she has sat down, selected his or her highlights, and then arranged them in an order that makes for best listening, hopefully in the 40-60 minute region (although it depends somewhat on the scope of the score, of course). So two things: This creative/artistic act has to have taken place, and it should be representative of the score. Then it qualifies as a proper soundtrack album to me. So if a composer chooses to present a score C&C, for example, it's automatically "disqualified". The creative act has not taken place. So it's a never blind support to the composer no matter what. As for JW, he's never created any missteps in any of his OSTs, as far as I can recall. He's an absolute master at that. Perhaps in JFK, where the non-score cues don't always mesh well with the score cues, but I'm guessing that was not his decision. The problem with this mostly one-sided view is that we listeners usually don't know which compromises that had to be made in the assembly of the OST, such as cues that couldn't be included because of delayed or additional recording sessions, time constraints put on the album by higher powers (1 vs. 2 LPs, re-use fees), and so on. Arpy 1 Link to comment Share on other sites More sharing options...
Gruesome Son of a Bitch 6,488 Posted September 18, 2019 Share Posted September 18, 2019 I'm sure a composer of JW's status could ensure that all the music he wanted on an album got on there. Link to comment Share on other sites More sharing options...
Jurassic Shark 11,956 Posted September 18, 2019 Share Posted September 18, 2019 That's not always the case though. For RotJ, Lucas was the one who decided to go for a 1-LP album because if his inherent cheapness. I'm sure JW would have included more music if he could, in line with SW and TESB. Link to comment Share on other sites More sharing options...
Arpy 4,145 Posted September 18, 2019 Share Posted September 18, 2019 1 hour ago, Jurassic Shark said: The problem with this mostly one-sided view is that we listeners usually don't know which compromises that had to be made in the assembly of the OST, such as cues that couldn't be included because of delayed or additional recording sessions, time constraints put on the album by higher powers (1 vs. 2 LPs, re-use fees), and so on. Thor's OST supremacy is a bit wonky because he's setting the standards by which music is and should be appreciated. There are cues not on an OST album that had just as much care and attention given to them when they were written (with original intent and purpose) for the film that are omitted that I would argue are key components to the 'listening experience' that are missing - especially when one considers the chronological narrative of a score which has themes that evolve etc. I also enjoy listening to some scores in C&C format because there are often thematic elements that are in the cues surrounding the set-pieces that lend some power to those set-pieces (building tension, foreshadowing etc.). 1 hour ago, Thor said: So if a composer chooses to present a score C&C, for example, it's automatically "disqualified". The creative act has not taken place. So it's a never blind support to the composer no matter what. we've had this exchange before, and last time I said the 'creative act' is the score itself - there is no greater creative act. Yes, curating and arranging an album is great, but it is a luxury and is secondary to the score as a whole. I have albums for films where I prefer the OST over the C&C but recognise that's because there are highlights or set-pieces that deserve attention - and that's going to change from listener to listener. 1 hour ago, Thor said: As for JW, he's never created any missteps in any of his OSTs, as far as I can recall. As far as you can recall. I have pined for years for cues or tracks Williams has omitted that wouldn't hinder the listening experience, but expand it! Holko 1 Link to comment Share on other sites More sharing options...
Holko 9,399 Posted September 18, 2019 Share Posted September 18, 2019 5 minutes ago, Arpy said: I also enjoy listening to some scores in C&C format because there are often thematic elements that are in the cues surrounding the set-pieces that lend some power to those set-pieces (building tension, foreshadowing etc.). Exactly why I think most of JW's (big) scores work 100 times better in complete form as a listening experience than in a heavily abridged randomised highlight collection that removes all this context, atmosphere and structure he put a lot of time and work into. 5 minutes ago, Arpy said: and last time I said the 'creative act' is the score itself - there is no greater creative act. Yes, curating and arranging an album is great, but it is a luxury and is secondary to the score as a whole. This!! Link to comment Share on other sites More sharing options...
Jurassic Shark 11,956 Posted September 18, 2019 Share Posted September 18, 2019 2 minutes ago, Arpy said: we've had this exchange before, and last time I said the 'creative act' is the score itself - there is no greater creative act. Yes, curating and arranging an album is great, but it is a luxury and is secondary to the score as a whole. I have albums for films where I prefer the OST over the C&C but recognise that's because there are highlights or set-pieces that deserve attention - and that's going to change from listener to listener. I suspect no composer would consider a complete score as the optimum presentation of the music away from the film. Link to comment Share on other sites More sharing options...
Arpy 4,145 Posted September 18, 2019 Share Posted September 18, 2019 1 minute ago, Jurassic Shark said: I suspect no composer would consider a complete score as the optimum presentation of the music away from the film. Yeah, but it's usually beyond their control no matter what - from limited disc space on their end, to the fickle machinations of the people listening to it on our end. They can't please everyone, and they shouldn't try. Link to comment Share on other sites More sharing options...
Jurassic Shark 11,956 Posted September 18, 2019 Share Posted September 18, 2019 3 minutes ago, Arpy said: Yeah, but it's usually beyond their control no matter what - from limited disc space on their end, to the fickle machinations of the people listening to it on our end. They can't please everyone, and they shouldn't try. I'm just thinking that the composer would like to present the music in the way he/she feels it should be in order to stand on its own away from the film. There's probably less compromises when it comes to an OST assembly than when writing the score in the first place. Link to comment Share on other sites More sharing options...
Arpy 4,145 Posted September 18, 2019 Share Posted September 18, 2019 Who could say, though? I think you might be right if we were to take the fact that the OST is a whittling of the complete score, which is itself a tapestry of a larger mess of alternates, different takes, film mixes, early sketches and so on. Link to comment Share on other sites More sharing options...
Thor 7,385 Posted September 18, 2019 Author Share Posted September 18, 2019 3 hours ago, Jurassic Shark said: The problem with this mostly one-sided view is that we listeners usually don't know which compromises that had to be made in the assembly of the OST, such as cues that couldn't be included because of delayed or additional recording sessions, time constraints put on the album by higher powers (1 vs. 2 LPs, re-use fees), and so on. I consider those things nothing more than parameters that the composer has to work within, like the frames of a painting. Where I differ from most people is that I consider album production an artform, almost on par with the composition itself. Just as a screenwriter adapting a book to film. In terms of soundtrack albums, I don't consider the score for the film the finished product that anyone is free to do will as they wish. It's only the beginning of the process, really. Next comes shaping the raw materials into something wortwhile in a different medium. But obiously, quite often I'm forced to make playlists, which is a kind of crisis solution when no alternative exists. Link to comment Share on other sites More sharing options...
Jurassic Shark 11,956 Posted September 18, 2019 Share Posted September 18, 2019 11 minutes ago, Thor said: I consider those things nothing more than parameters that the composer has to work within, like the frames of a painting. Except that the frame is smaller than he ordered, half the colors are empty, and the muse has run away. Pieter Boelen 1 Link to comment Share on other sites More sharing options...
Thor 7,385 Posted September 18, 2019 Author Share Posted September 18, 2019 Not at all. It's the greatest artform, selecting, condensing, rearranging and reconceptualizing music to fit within given parameters that are more suited for listening. Link to comment Share on other sites More sharing options...
Jurassic Shark 11,956 Posted September 18, 2019 Share Posted September 18, 2019 I agree that destillation is necessary to present a score in a more listening-friendly form, but I think that destillation process often is flawed, not yielding the best presentation as seen by the composer. Arpy 1 Link to comment Share on other sites More sharing options...
Thor 7,385 Posted September 18, 2019 Author Share Posted September 18, 2019 That isn't so important to me. What's important is that he has made the best of the parameters at his disposal. Link to comment Share on other sites More sharing options...
cordax 32 Posted September 19, 2019 Share Posted September 19, 2019 I've always had a strange fascination with this one snip from the final charge scene Link to comment Share on other sites More sharing options...
Gruesome Son of a Bitch 6,488 Posted September 19, 2019 Share Posted September 19, 2019 Very patriotic and masculine. Makes me want to wave a flag around the battlefield and kill Redcoats. Link to comment Share on other sites More sharing options...
Edmilson 7,262 Posted September 19, 2019 Share Posted September 19, 2019 I just love the trumpets on the ending of this track, so heroic and epic: I love when Williams creates this walls* involving the brass section to highlight that something very epic is happening, just like this or on The Spark. *for the lack of a better term, I'm not musically educated to describe precisely what those things are. Link to comment Share on other sites More sharing options...
Edmilson 7,262 Posted September 19, 2019 Share Posted September 19, 2019 I think The Patriot is special for another reason: unless I forgot anyone, it's Williams' sole score* for those war epic historical movies (non fantasy - sorry, Howard) that followed after Braveheart's success. Horner scored Braveheart itself, The Four Feathers and Troy. Zimmer was on Gladiator, The Last Samurai and King Arthur. Goldsmith scored First Knight and The 13th Warrior. Harry Gregson-Williams was on Kingdom of Heaven. Heck, if you want to count it, even Marc Streintenfeld of all people scored his epic, Robin Hood (his best score, which is not saying much). Williams, however, was just on Patriot. I can imagine Emmerich's line of thinking on hiring him: "So far, I've done only silly sci-fi movies for kids. But now I'm gonna make a historical epic with the star of Braveheart that'll be just like Braveheart, but on the American Revolution! It's gonna have a love story, a cruel villain, epic battles and Mel Gibson - oh, my gosh, I'm gonna win so many Oscars next year! Since my collaboration with Arnold isn't working, I'll hire the greatest composer of all time to score my masterpiece". And, as good as Patriot is, I like to imagine how Williams' other contributions for the war epics of that era would have been. Can you guys imagine a Williams score for Troy or Kingdom of Heaven? I can only theorize that Williams' hypothetical KoH would have sounded like the Middle Eastern material of Munich mixed with the religious and reverent music of The Face of Pan and The Last Crusade. Jay 1 Link to comment Share on other sites More sharing options...
Jurassic Shark 11,956 Posted September 19, 2019 Share Posted September 19, 2019 6 minutes ago, Edmilson said: Williams, however, was just on Patriot. And Saving Private Ryan. Link to comment Share on other sites More sharing options...
Jay 37,042 Posted September 19, 2019 Share Posted September 19, 2019 Saving Private Ryan is a war movie, not a historical epic Link to comment Share on other sites More sharing options...
Jurassic Shark 11,956 Posted September 19, 2019 Share Posted September 19, 2019 It's historical. It's got epic scenes. It involves a long journey. Link to comment Share on other sites More sharing options...
Edmilson 7,262 Posted September 19, 2019 Share Posted September 19, 2019 I've deliberately excluded WWII epics because I wasn't sure if fitted. But anyway, including WWII movies, Williams would gain SPR, but Horner and Zimmer would gain Enemy at the Gates and Pearl Harbor. Link to comment Share on other sites More sharing options...
theMaestraX 106 Posted October 1, 2019 Share Posted October 1, 2019 I certainly enjoy the main theme - overall an exciting score! Edmilson 1 Link to comment Share on other sites More sharing options...
Amer 2,071 Posted October 2, 2019 Share Posted October 2, 2019 On 9/19/2019 at 8:49 PM, Jurassic Shark said: It's historical. It's got epic scenes. It involves a long journey. Yes. "An epic is a long poem or other work of art celebrating heroic feats. ... We tend to use epic for long, ambitious novels or movies, especially if they involve a long journey. Epic can be used as an adjective to describe something historically important, lasting and complex." SPR can be considered as a War Epic. Jurassic Shark 1 Link to comment Share on other sites More sharing options...
Laserschwert 472 Posted October 2, 2019 Share Posted October 2, 2019 On 9/19/2019 at 5:52 PM, Edmilson said: I've deliberately excluded WWII epics because I wasn't sure if fitted. But anyway, including WWII movies, Williams would gain SPR, but Horner and Zimmer would gain Enemy at the Gates and Pearl Harbor. And Kamen did "Band of Brothers", the most epic of them all. Jurassic Shark 1 Link to comment Share on other sites More sharing options...
crumbs 14,274 Posted October 2, 2019 Share Posted October 2, 2019 I wonder if Emmerich asked Williams to score Midway? Obviously the answer would never be yes, but still nice to ponder. Link to comment Share on other sites More sharing options...
Jurassic Shark 11,956 Posted October 2, 2019 Share Posted October 2, 2019 He could just recycle his old score. Link to comment Share on other sites More sharing options...
Edmilson 7,262 Posted October 2, 2019 Share Posted October 2, 2019 56 minutes ago, crumbs said: I wonder if Emmerich asked Williams to score all of his movies post-Patriot? Fixed. It's hard to imagine for sure, but that would have been an interesting pairing. Just imagine a Williams score for Dar After Tomorrow or 2012? Certainly it would be a lot more interesting than Kloser and what Wander (who is no wonder) did. Link to comment Share on other sites More sharing options...
Thor 7,385 Posted October 2, 2019 Author Share Posted October 2, 2019 5 minutes ago, Edmilson said: It's hard to imagine for sure, but that would have been an interesting pairing. Just imagine a Williams score for Dar After Tomorrow or 2012? Certainly it would be a lot more interesting than Kloser and what Wander (who is no wonder) did. Perhaps, but I consider that particular score -- THE DAY AFTER TOMORROW -- the best in the Emmerich/Kloser(/Wander) collaboration. Link to comment Share on other sites More sharing options...
Not Mr. Big 4,621 Posted October 2, 2019 Share Posted October 2, 2019 1 hour ago, Edmilson said: Fixed. It's hard to imagine for sure, but that would have been an interesting pairing. Just imagine a Williams score for Dar After Tomorrow or 2012? Certainly it would be a lot more interesting than Kloser and what Wander (who is no wonder) did. A John Williams score for White House Down! Link to comment Share on other sites More sharing options...
Edmilson 7,262 Posted October 2, 2019 Share Posted October 2, 2019 Yeah, it would have been his first non-fantasy and non-science fiction action movie since (checks Wikipedia) Black Sunday! Jurassic Shark and The Illustrious Jerry 1 1 Link to comment Share on other sites More sharing options...
crumbs 14,274 Posted October 2, 2019 Share Posted October 2, 2019 7 hours ago, Thor said: Perhaps, but I consider that particular score -- THE DAY AFTER TOMORROW -- the best in the Emmerich/Kloser(/Wander) collaboration. Agreed, that's actually quite a good pairing to the film. The theme is memorable and the opening and closing cues are very well scored. He really should've brought back Arnold for ID42 though. That score was thoroughly mediocre and didn't elevate the mediocre material. Link to comment Share on other sites More sharing options...
Popular Post BrotherSound 2,240 Posted August 31, 2020 Popular Post Share Posted August 31, 2020 Updated 2/26/2021 with more cue titles With the discussion of the scores that have the most unreleased cues, I was curious to take a closer look at The Patriot. Here’s a breakdown of the OST: 1 The Patriot 6:40 End Credits [without coda] 2 The Family Farm 3:04 1M3 The Patriot 3 To Charleston 2:15 1M5 The Letter Scene 4 The Colonial Cause 3:16 0:00-0:51 8M6 Alt - Martin Rejoins The Troops 0:51-end 9M2A The British Counter-attack 5 Redcoats At The Farm And The Death Of Thomas 5:00 0:00-0:47 9M1 Tavington’s Premature Charge 0:47-3:31 3M1 The Death of Thomas 3:31-end 3M1 Insert - Into the Burning House 6 Ann Recruits The Parishioners 3:09 4M5A Ann’s Speech in the Church 7 Preparing For Battle 5:50 0:00-2:07 9M2 Martin Sets the Trap 2:07-end 8M7 Preparing for Battle 8 Ann And Gabriel 4:35 0:00-2:17 5M4 Ann and Gabriel 2:17-end 5M5 Ann and Gabriel Part 9 The First Ambush And Remembering The Wilderness 4:00 0:00-1:13 5M7 Remembering the Wilderness 1:13-2:14 3M2 The First Ambush 2:14-end 3M3 After the Ambush 10 Tavington’s Trap 4:10 0:00-2:01 5M6 Tavington’s Ambush 2:01-end 8M1? Gabriel's Last Fight 11 The Burning Of The Plantation 4:56 0:00-3:08 6M4 Tavington to the Plantation 3:08-end 6M5 Burning the Plantation 12 Facing The British Lines 3:05 0:00-1:28 4M9 Villenueve’s Training 1:28-1:48 9M1 Tavington’s Premature Charge 1:35-1:45 4M1 British Grenadiers 1:44-1:48 1M7 Yankee Doodle 1:48-1:59 [unknown] 1:59-end 8M6 The Patriot Returns 13 The Parish Church Aflame 3:04 7M8 The Burning of the Church 14 Susan Speaks 3:17 7M5 or 7M6? Susan Speaks 15 Martin Vs. Tavington 3:07 0:00-2:22 9M3 New - Martin vs. Tavington 2:22-end 9M3 Tavington’s End 16 Yorktown And The Return Home 5:20 9M4 Rev 2 - On To Yorktown 17 The Patriot Reprise 7:50 End Credits [with coda] There seems to be a few cues missing from the sheet music: the two cues comprising “Susan Speaks” and the second half of “Tavington’s Trap”, so I’ve used the titles from the rear channel rip with sound effects. Let me know if you can identify any of those bits. Not even counting the source music, there’s over 20 completely unreleased cues, some quite substantial! Worth noting that 8M3+4 “The Death of Gabriel” as written is much longer than what’s heard in the film. Also, as far as I can tell, 9MAX “Over the Top”, a nice bit of action music, isn’t used at all. *Unreleased **Partially unreleased 1M3 The Patriot *1M4 The North Star 1M5 The Letter Scene *1M6 Martin and Charlotte 1M7 Yankee Doodle [source] *2M1 Addressing the Assembly *2M2 Prince Eugene March [source] *2M2A British Grenadiers [source] *2M3 The Defeat at Charlestown *2M3 Rev. - The Defeat at Charleston Revised *2M4 Remembering Fort Wilderness *2M5 Walking Among the Fallen *2M6-7 Redcoats in the Cornfield **3M1 The Death of Thomas 3M1 (Insert) - Into the Burning House 3M2 The First Ambush 3M3 After the Ambush *3M4 Rev. Martin and Sons *3M5 Martin Leaves the Family 4M1 British Grenadiers [source] *4M3 Reading the War Map *4M4 The Colonel and the Corporal 4M5A Ann’s Speech in the Church *4M6 The Tavern [source] *4M7 More Tavern [source] *4M8 Rough Fighter Recruited 4M9 Villenueve’s Training *5M1 At Camp [source] 5M4 Ann and Gabriel 5M5 Ann and Gabriel Part 5M6 Tavington’s Ambush 5M7 Remembering the Wilderness *5M8 Martin to the Stockade *6M1 Fort Drums [source] *6M2 Tavington vs. Martin *6M3 British Grenadiers [source] 6M4 Tavington to the Plantation 6M5 Burning the Plantation *6M6 To Gullah Maroon *7M1 Burnt-out Homes *7M2 Susan and Father *7M3 The Wedding *7M4 Ann’s Wedding [source] 7M5 or 7M6? Susan Speaks *7M7 The Parisians Return 7M8 The Burning of the Church *7M9 Burnt Out Church 8M1? Gabriel's Last Fight *8M2? Gabriel Mortally Wounded *8M3+4 The Death of Gabriel 8M6 The Patriot Returns 8M6 Alt - Martin Rejoins the Troops *8M6 New - New Intro 8M7 Preparing for Battle *8M9 Battle Drums [source] 9M1 Tavington's Premature Charge *9M1B [British drums source] 9M2 Martin Sets the Trap **9M2A The British Counter-attack *9M2AX Over the Top **9M2B Martin vs. Tavington 9M3 New - Martin vs. Tavington 9M3 Tavington’s End 9M4 Rev - On To Yorktown 9M4 Rev 2 - On To Yorktown End Credits Holko, Edmilson, Brundlefly and 1 other 4 Link to comment Share on other sites More sharing options...
Edmilson 7,262 Posted August 31, 2020 Share Posted August 31, 2020 I believe that this score will be a revelation to many JWFanner when it gets expanded. The richness of themes will surprise everyone! crumbs and BrotherSound 2 Link to comment Share on other sites More sharing options...
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