Your favourite Williams score random moment?

[Tommy Lellan 4]

What's your favourite random moment in a Williams score that you don't tell anybody because you can;'t possibly expect them to understand why you love it so much? One of mine for example is the descending chords in the track 'Death of Topthorn' from War Horse (precisely 0:55 to 1:16).

The reason I love it so much is that each chord descends, as if walking down a staircase, and with each chord change the main note takes a second to follow, and it creates this sublime melancholy. And it just keeps going longer than you think it possibly could. Probably doesn't make sense, which is why I've never mentioned it before.

 

Share your own moments with time-stamps if you like!

[BB-8 3,471]

I love these sudden religioso vibes, e.g.:

 

[artguy360 1,843]

6 hours ago, BB-8 said:

I love these sudden religioso vibes, e.g.:

 

One of the best SW musical moments of all time and the unexpectedness and uniqueness of it has never been matched in SW. Such a beautiful moment.

[Andy 4,120]

Hi @Tommy Lellan!  You should have a look at this thread.

 

Favorite Short JW Moments
 

 

It’s a long read, but loaded with lots of great short moments to get lost in. 😊

[Bellosh 3,418]

2 hours ago, Andy said:

Hi @Tommy Lellan!  You should have a look at this thread.

 

Favorite Short JW Moments
 

 

It’s a long read, but loaded with lots of great short moments to get lost in. 😊

 

So many posts in here spark me to listen to a whole score from front to back. A truly perfect thread on JWfan forum.

[BB-8 3,471]

11 hours ago, artguy360 said:

One of the best SW musical moments of all time and the unexpectedness and uniqueness of it has never been matched in SW. Such a beautiful moment.

 

...molto religioso...

 

 

[Naïve Old Fart 9,515]

The dedication in the Main Title from THE TOWERING INFERNO, where it all goes quiet and respectful, before heading for the big finish.

[MikePetersen 8]

INDIANA JONES AND THE TEMPLE OF DOOM: The plane crash sequence, the engines are failing, the propellors are sputtering to a halt, Indy looks out the window and says "I think we have a big problem." Cut to a view of the jagged mountaintops. That rise in the french horns at that exact second is one of my favourite Williams moments of all time. That, and the sudden trilling of flutes that kicks in when the yellow raft is in mid-fall.

[Andy 4,120]

11 hours ago, MikePetersen said:

 That rise in the french horns at that exact second is one of my favourite Williams moments of all time. 

 

It almost sounds like a new motif, almost like the Tintin Theme, or the motif from Episode I's  "Panaka and the Queen's Protectors"

 

I could pick out anything from Temple of Doom, but these swirling strings in Approaching the Stones caught my ear today.  I just love this passage of unsettling strings from about 00:41 to 01:00...and I'm not even talking about the huge crescendo and choir that builds afterwards.  

 

 

[Edmilson 7,434]

I love how delightfully cartoony the score gets for TLJ's Fathiers scene. It is so fun, it reminded me of 80s and 90s scores, before blockbuster movies got so dark and disturbing that this kind of mickeymousing felt out of place.

 

 

[Edmilson 7,434]

1:14 to 1:19 and 1:33 to 1:36 are SO MUCH FUN! 

 

 

[publicist 4,643]

Always loved the octave leaps from the woodwinds in Dracula's theme here. Stuff like that made it clear immediately that this music may have been orchestrated 'classicaly' (for standard 19th century symphony orchestra sections) but the writing has its own, modern imprints.

 

 

[Naïve Old Fart 9,515]

@Andy, that's fantastic.

APPROACHING THE STONES is my favourite cue from TOD, by a country mile.

[Andy 4,120]

It’s a remarkable  cue. Stunning use of that the huge choir accompanied by the rarely used Shiva-Linga motif.  This cue would’ve made for a better inclusion on the OST than Children in Chains, the cue that directly follows this one.  

[GerateWohl 4,357]

I love it, when Williams uses that canon structure repeating the main theme melody over a b-section of the theme like here in The Towering Inferno:

 

Or here in The Children's Crusade:

 

Anyway, when people are praising JW's music, they are often talking about his usage of chords. But I also think, his counter pointing is exceptional.

[Naïve Old Fart 9,515]

I love it at, the end of THE ASTEROID FIELD, when, on the last of the nine descending notes, there's a little brass chord...and the lights on the Falcon come, on, right on that hit.

Genius.

[BB-8 3,471]

I like these kind of small wood-wind gestures, which have such a strong effect against the backdrop of the arpeggios.