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TROS seems to have been temped with Gordy Haab's Battlefront II score


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It's always bothered me the way in which they temped the sequel films. For the original six films, they of course primarily used classical music accompanied sometimes by music from other films.  

I think we now know why Williams chose not to put these on the album. Falcon Flight always seemed to be a little too different from the Williams sound and it seems that Haab's music laid the foundatio

1 minute ago, Nick Parker said:

 

..........? 

 

It's certainly different from the rest of the score, which had a less frantic and more melodic action style.

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3 minutes ago, Drew said:

 

It's certainly different from the rest of the score, which had a less frantic and more melodic action style.

 

Ultimately you're talking about a few seconds of similar chords and rhythms, aren't you? That's nowhere near enough to justify this claim, especially with, as many of us pointed out, the similarities and continuity of ideas from earlier scores such as ESB to this track.

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Just now, Nick Parker said:

 

Ultimately you're talking about a few seconds of similar chords and rhythms, aren't you? That's nowhere near enough to justify this claim, especially when, as many of us pointed out, the similarities and continuity of ideas from earlier scores such ESB to this track.

 

Two different composers working on the same intellectual property only a few years apart just happened to have multiple instances of writing nearly identical sections of music?

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The Han one is interesting but not outright, the Rey's Training one is the one that stood out to me like a sore thumb....and the game and film are two years apart so BFII very clearly came first.

 

Adventure of Han being recorded in 2017 and the game releasing at the same time could just be overlap, or Haab heard it and tributed it like all his music ends up being.

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1 hour ago, Jurassic Shark said:

 

We know he plays Skype with Rian.


And Steven

6 hours ago, Holko said:

 

 

um

 

 

 

 

 


This was Haab doing his usual thing and reworking JW music and changing it. JW then took Haab’s and only changed like one note. It’s not the same kind of comparison.

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The second one isn’t convincing. Williams has written action cues that started that way like The Falcon. I dismiss that comparison since Haab could easily have imitated that cue.

 

The first, though... I know it’s just a short phrase, but it’s extremely similar. I don’t know how to evaluate that. Maybe Haab was using sketches of unused cues from TFA that Williams ended up reusing? Not sure.

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2 minutes ago, Taikomochi said:

The second one isn’t convincing. Williams has written action cues that started that way like The Falcon. I dismiss that comparison since Haab could easily have imitated that cue.

 

The first, though... I know it’s just a short phrase, but it’s extremely similar. I don’t know how to evaluate that. Maybe Haab was using sketches of unused cues from TFA that Williams ended up reusing? Not sure.

 

Uh, the second one is Titus/300 worthy.

 

Reused alternates from TFA is also a likely possibly, especially because Abrams was familiar with what JW wrote for TFA.

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4 minutes ago, Taikomochi said:

It might be 300/Titus worthy if Williams hadn’t written cues that started that way prior to Haab’s work. Just seems like a generic Williams-ism

 

That it does. Which is why these comparisons are always a bit of a tough sell. But that last one? Suspicious. 

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Haab and his team of co-composers have studied Williams' SW tropes very well so they can certainly make it sound like the perfect imitation (that's the brief they were given by the producers). They have access to score and sketches, so they can make accurate sort of transcriptions.

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1 hour ago, TownerFan said:

Haab and his team of co-composers have studied Williams' SW tropes very well so they can certainly make it sound like the perfect imitation (that's the brief they were given by the producers). They have access to score and sketches, so they can make accurate sort of transcriptions.

 

My feeling is the effectiveness of the emulation wouldn't necessarily just be limited to the Star Wars oeuvre, should something else ever be required. 

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Basically, at this point Gordy should just be awarded the next marque Star Wars movie gig, in lieu of a then retired (from the franchise) JW. 

 

Give the chap the proper opportunity to step into them big boots. At the very least, I'd expect it to be no less effective than Gia's effort. What have Disney/we got to lose? 

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27 minutes ago, Manakin Skywalker said:

Gordy's first game project was one of LucasArt's Indiana Jones games (I can't recall the title).

Staff of Kings. Basically just JW's Indy setpieces with the specific melodies just slightly altered.

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53 minutes ago, Tom said:

I like Haab's music--he deserves bigger projects.  

 

There seems to be some sort of negative subtext to all of this. Why does it matter if TROS used his or anyone else's music as temps?  Isn't that kind of the point of a temp track?  

 

It's fun to talk about. Plus the irony that half the people here don't like Gordy Haab's music but love "Falcon Flight" even though it seems that Haab's creative voice is all over that track.

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I do just want to quickly add for anyone who might think that some of this music may have been recorded after TROS, Gordy uploaded these tracks to his SoundCloud account originally in 2018, and includes all of the above mentioned music. Therefore we can rule out this being a case of Gordy hearing the music early, since JW's sessions took place much later.

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Yeah right, I am pretty sure the prequels had tracking from earlier scores.

 

Does this only apply to temps within the same franchise, or does it apply to same composer tracking general? Because apparently some of the LOTR temp track was from HS scores

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3 minutes ago, Spider-Fal said:

Does this only apply to temps within the same franchise, or does it apply to same composer tracking general? Because apparently some of the LOTR temp track was from HS scores

 

And AUJ has some of the most shameless temp track love I've heard from a sequel (though poor Shore clearly tried to escape it).

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Another element I don't understand from the OP is the quasi-conspiratorial notion that Williams omitted the track due to shame or something of having ripped off the alleged temp. There are multiple albums he's put out over the decades where the temp track inspirations are very apparent...including Dune Sea from '77 OG. Don't see any reason for him to get sheepish all of a sudden.

 

Now that Haab's been in Lucas orchestra land for over a decade, I would be interested in hearing him write non-Williams pastiche.

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9 hours ago, crumbs said:

And AUJ has some of the most shameless temp track love I've heard from a sequel (though poor Shore clearly tried to escape it).

At least that has the simple excuse that they're visiting the same places in the same way as in LotR, makes sense to play the Shire themes and Rivendell and so on. That Ringwraiths bit, tough...

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16 hours ago, crumbs said:

 

And AUJ has some of the most shameless temp track love I've heard from a sequel (though poor Shore clearly tried to escape it).

 

7 hours ago, Holko said:

At least that has the simple excuse that they're visiting the same places in the same way as in LotR, makes sense to play the Shire themes and Rivendell and so on. That Ringwraiths bit, tough...


Recently watched hobbit trilogy with commentary again. PJ acknowledges Shore was very frustrated on Hobbit 1 because he was constantly being asked to do re-do what he had done previously. His new Hobbit and Bilbo themes go essentially unused in the trilogy or underused. Some of the themes and concepts are also abandoned.

 

PJ said Shore was much happier scoring 2 and 3, because they presented completely new environments and contexts and characters and allowed him to write fresh again.

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Shore's plan on how to score The Hobbit was perfect. PJ's decision to change so much of it to LOTR retreads was one of his worst instincts on the production 

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