Your Favorite Third Act Musical Surprise

[ddddeeee 257]

 

[HunterTech 994]

14 hours ago, WampaRat said:

Well technically it’s Geoff Zanelli piece My five year old son is OBSESSED with trains. This arrangement is his favorite piece of music to run around the house and “chug” to. 

 

5 hours ago, Tom said:

It is hard for me to keep up with how Zimmer does what he does.  Thanks for the info.  

 

In fairness, Zanelli is only credited solo for 2 small variants on the cuesheet (1m05-07, 9m88B), as the big track here (primarily 8m88A) is a collaboration with Zimmer and Ann Marie Simpson. Of course, it sounds fairly samey each time, and the film itself probably doesn't help by only crediting Zanelli (in presumably more of a source context), but hey at least everyone seems to have gotten their fair dues here.

[WampaRat 1,105]

2 hours ago, HunterTech said:

 

 

In fairness, Zanelli is only credited solo for 2 small variants on the cuesheet (1m05-07, 9m88B), as the big track here (primarily 8m88A) is a collaboration with Zimmer and Ann Marie Simpson. Of course, it sounds fairly samey each time, and the film itself probably doesn't help by only crediting Zanelli (in presumably more of a source context), but hey at least everyone seems to have gotten their fair dues here.

Learned something new today haha. 

[Tallguy 3,401]

19 hours ago, Tom said:

Let it never be said that I cannot appreciate a Zimmer score.  Also, guilty confession: I prefer this to the actual overture.  

 

 

 

It's like the "Best Parts" version!

[thestat 348]

This thread was invented for the 1991 Patrick Doyle choral action masterpieces. Dead Again is probably one of the earliest examples of where a composer ups the game massively by accompanying his music with chorals. See Duel of the Fates but 8 years earlier. Can't find the individual track but from 25:09 onwards, starts with the normal score but then trancends into bombastic great madness:

 

 

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Hunter Tech - fascinated by this quote:

 

In fairness, Zanelli is only credited solo for 2 small variants on the cuesheet (1m05-07, 9m88B), as the big track here (primarily 8m88A) is a collaboration with Zimmer and Ann Marie Simpson. Of course, it sounds fairly samey each time, and the film itself probably doesn't help by only crediting Zanelli (in presumably more of a source context), but hey at least everyone seems to have gotten their fair dues here.

 

 I also adore this track - it is truly brilliant music. Always thought it was full Zanelli with Zimmer's theme but if that is not the case, what do you mean 8m88A, what is that exactly? Fascinated!!

Apologies, not sure what happened with the site! All I want to flag up is that Patrick Doyle was literally invented for this - to come up with a massive version at the end of his scores often using voices to accentuate his work. Dead Again is a great example of this. It's Herrmann on Speed as Doyle himself described it in London once, but the addition of a chorus makes it bonkers awesome. You should find an example from 22:50 below:

 

[Tallguy 3,401]

42 minutes ago, thestat said:

This thread was invented for the 1991 Patrick Doyle choral action masterpieces. Dead Again is probably one of the earliest examples of where a composer ups the game massively by accompanying his music with chorals. See Duel of the Fates but 8 years earlier. Can't find the individual track but from 25:09 onwards, starts with the normal score but then trancends into bombastic great madness:

 

 

•  

•  

 

Hunter Tech - fascinated by this quote:

 

In fairness, Zanelli is only credited solo for 2 small variants on the cuesheet (1m05-07, 9m88B), as the big track here (primarily 8m88A) is a collaboration with Zimmer and Ann Marie Simpson. Of course, it sounds fairly samey each time, and the film itself probably doesn't help by only crediting Zanelli (in presumably more of a source context), but hey at least everyone seems to have gotten their fair dues here.

 

 I also adore this track - it is truly brilliant music. Always thought it was full Zanelli with Zimmer's theme but if that is not the case, what do you mean 8m88A, what is that exactly? Fascinated!!

Apologies, not sure what happened with the site! All I want to flag up is that Patrick Doyle was literally invented for this - to come up with a massive version at the end of his scores often using voices to accentuate his work. Dead Again is a great example of this. It's Herrmann on Speed as Doyle himself described it in London once, but the addition of a chorus makes it bonkers awesome. You should find an example from 22:50 below:

 

 

Weird. But quoting you seems to have fixed it.

[thestat 348]

Thanks man. What happened there?

 

But isn't the whole point of finales to up the ante hence increase the volume of the score etc.....Hence, I give you this marvellous piece of scoring from Robin Hood, 1991, not heard anywhere before in the film (because Don Davis was ghostwriting)

 

And on that topic another Don Davis favourite, Clear and Present Danger. The mayhem here was certainly not part of a very controlled Horner score:

 

[Taikomochi 1,136]

 

[Tallguy 3,401]

Maybe I'm expecting too much. All the examples I can think of (and many, IMHO, presented here) are definitely kicking things into high gear, but nothing that seems like "Wow, I didn't know this score could do THAT!"

 

The Last Battle from Star Wars, the whole end cycle of Wrath of Khan, heck The Miracle of the Ark... These are all next level stuff. (Am I just naming my favorite scores and movies? Possibly.) But they're also all of a thematic and stylistic piece of what has come before. (Miracle of the Ark might be nudging it's way into new territory even if the themes had been mentioned before.)

 

Taking Henry V as an example, Non Nobis, Domine is an amazing piece. But it still builds on what has come before. (And this might be where I'm stretching the idea too far.) If anything it's St. Crispin's day that is a theme and tone that really comes out of nowhere. (Henry V isn't one of the scores where I can tell you every twist and turn of the score, so maybe it doesn't.)

 

If I dial my expectations back a bit and going to a more recent example: Avengers: Endgame. The 1-2-3 punch of Portals, The Real Hero, and Main on End is an emotional sugar rush. Silvestri's scoring of the Avengers films has always been masterful (especially Infinity War) but never anything that I ever listen to apart from the films. Every note is perfect and delivers exactly what is needed but it's not the kind of narrative musical storytelling that I like to listen to. Then he wraps it up in a bow with those three sequences.

 

OH! I know one! The Abyss! Although I gather that many people considered that end sequence of music and the very fact that it WASN'T foreshadowed as much as some people wanted it to have been to be a negative rather than a positive. But I was there for the ride and I adore it.

 

Getting really Silvestri fixated, what about Back to the Future? Certainly not new themes, but the score had been quiet for so much of the story just because of the needs of the film that when they get to the clock tower Zemeckis steps aside and says "Alan! You're UP!"