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I transcribed and analyzed Banning Back Home From "Hook"


InTheCity

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I would never have guessed this was from Williams.  It reminds me a little of his lounge music from the 70's like this (where the flute comes in around 55 seconds) but maybe this is a different genre.

 

 

 

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On 12/12/2023 at 2:24 AM, InTheCity said:

I hope you enjoy

 

“Training Montage” from SpaceCamp is sort of a proto version of this with JW going full synth mode. Might be interesting to analyize and compare the two cues.

 

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4 minutes ago, Steve said:

Is this a real person in the video? He doesn't blink 😲

 

I'm pretty sure that's @InTheCity

 

Also can we take a moment to appreciate that he lives in a beautiful medieval castle? ;)

Great breakdown by the way!

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16 minutes ago, Steve said:

Is this a real person in the video? He doesn't blink 😲

He’s either a living person or the most well made CGI character ever created by Weta Digital.

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3 hours ago, JTW said:

“Training Montage” from SpaceCamp is sort of a proto version of this with JW going full synth mode. Might be interesting to analyize and compare the two cues.

 

Wow, I never would have guessed our Johnny penned this one!  What genre is this, funk?

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On 13/12/2023 at 6:30 AM, karelm said:

I would never have guessed this was from Williams.  It reminds me a little of his lounge music from the 70's like this (where the flute comes in around 55 seconds) but maybe this is a different genre.

 

 

 

 

I love "Banning Back Home." It's just JW doing his own version of Dave Grusin's "Mountain Dance." But if you have to do a pastiche of another artist's work, you might as well knock it out of the park like he did.

 

 

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1 hour ago, Jurassic Shark said:

 

1. The ideas.

2. The arrangement. 

I think it’s a lighthearted, unorthodox cue that shows the versatility of JW who is most well known as the symphonist. It’s not the best cue of the score, but imho it’s an inventive, uplifting, joyful, very 80s synth arrangement. I love it.

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6 minutes ago, Jurassic Shark said:

The thing is I don't think I would have liked it in an orchestral arrangement either.

I used to not like this score, either, but the last Intrada expansion made

me fall in love with it and I’ve been a fan since. It’s both strange and great when JW does synth cues, one just has to love them. It’s so not him, yet he can do wonders with it. Had he decided to go the full synth road like Zimmer, he would’ve made some amazing electronic scores. But luckily he didn’t. 

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On 15/12/2023 at 12:29 AM, karelm said:

What genre is this, funk?


I’d call it pop/soul but done with the most extraordinarily 80s production values.

 

An impressive transcription, @InTheCity - thank you. I like the use of money voicings, and it’s good to see them notated clearly and explained.

 

Putting the 7th in the bass is a trick I seem to remember Williams saying he enjoyed doing for the Nazis in Last Crusade. How amusing that he did the same thing two years later in a jazz setting!


The only bit I’m slightly less convinced by is the DX7 reference. Yes, it was very popular (especially the electric piano preset) but it had been largely overtaken by the Korg M1 by the late 80s and early 90s. Nevertheless, any session synth player in 1991 would probably still have an DX7 available and might have deliberately used it since the piece was a bit of an 80s pastiche.


I’m pretty sure the original DX7 couldn’t split sounds across the keyboard, but the later DX7-II probably could. Given the huge synth rigs we’ve seen Grierson et al using in scoring sessions, I’d suggest it’s more likely to be two separate keyboards being used on the same rack.

 

Mark

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Training Montage is as far from Funk as you can get. Funk is something driving, something for moving, dancing. 

Training Montage manages to have no drive at all, it is so static, you cannot even march to it. Maybe it's a music for... building something with Lego. Don't know.

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