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Film Score Setpieces

General Discussions » Film Score Setpieces (Posts 1 to 29 of 29)

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      CommentAuthorThor
    • CommentTimeJan 30th 2012
    I've long wanted to do a series of playlists that focus more on certain setpiece tracks within scores rather than the main themes (or main/end titles) themselves. That have a sort of independent quality, as self-sufficient mini-pieces within the overall main score.

    First out is Goldsmith. I went through my collection and picked out these:

    http://www.celluloidtunes.net/non-website/setpieces.jpg

    Not all scores have such a centerpiece track, so there were scores I didn't include (or that I have to re-familiarize myself with to find).

    What essential Goldsmith tracks am I missing?
    Any of you tried similar playlists/compilations? If so, with what composers?
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      CommentAuthorThor
    • CommentTimeJan 30th 2012
    I just realized I put the 'Main Title' from OMEN III there. Sorry about that, a mistake. Still, the opening titles are very much one of the score's main centerpieces. So one of the cases where the two merge.
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      CommentAuthorThor
    • CommentTimeJan 30th 2012
    Oh, and finally -- the sequence of tracks should obviously be a bit different, to make it flow better (aggressive tracks taking over from calmer stuff etc.).
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      CommentAuthorsdtom
    • CommentTimeJan 30th 2012
    Pretty hard to not miss something from Goldsmith. I'd take a look at Chinatown, L.A. Confidential, Sand Pebbles, among three to see how they might fit.
    Tom
  5. Thor wrote
    What essential Goldsmith tracks am I missing?

    Some that spring to mind:

    A whole number of tracks off Poltergeist (pick one? "Escape From Suburbia", The Blue Max's "Retreat", "The Final Message" (Tora! Tora! Tora!), "Vejur Flyover" (Star Trek: The Motion Picture), "Death of A Thousand Cuts" (The Sand Pebbles) and "The Hunt" from The Final Conflict.
    The views expressed in this post are entirely my own and do not reflect the opinions of maintitles.net, or for that matter, anyone else. http://www.racksandtags.com/falkirkbairn
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      CommentAuthorMartijn
    • CommentTimeJan 30th 2012
    It's pretty much the way I create playlists anyway.... I'll have a look through my Goldsmith list for additional suggestions (if any smile ).
    “The Bible contains six admonishments to homosexuals and 362 admonishments to heterosexuals. That doesn't mean that God doesn't love heterosexuals. It's just that they need more supervision.” ~ Lynn Lavner
  7. When it comes to "setpieces" I would actually include The Waiting Game from Tora! Tora! Tora!
    http://www.filmmusic.pl - Polish Film Music Review Website
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      CommentAuthorplindboe
    • CommentTimeJan 30th 2012
    Thor wrote
    I've long wanted to do a series of playlists that focus more on certain setpiece tracks within scores rather than the main themes (or main/end titles) themselves. That have a sort of independent quality, as self-sufficient mini-pieces within the overall main score.

    First out is Goldsmith. I went through my collection and picked out these:

    http://www.celluloidtunes.net/non-website/setpieces.jpg

    Not all scores have such a centerpiece track, so there were scores I didn't include (or that I have to re-familiarize myself with to find).

    What essential Goldsmith tracks am I missing?
    Any of you tried similar playlists/compilations? If so, with what composers?


    I've no idea what a setpiece track is other than as you stated it's not a main theme and it's not in the main title or end title of the movie.

    So if I look at the tracklist to The good, the bad and the ugly are tracks 2-11 setpieces?

    1. Il buono, il brutto, il cattivo
    2. Il tramonto
    3. Il forte
    4. Il deserto
    5. La carrozza dei fantasmi
    6. Marcetta
    7. La storia di un soldato
    8. Marcetta senza speranza
    9. Morte di un soldato
    10. L'estasi dell'oro
    11. Il triello

    Peter dizzy
    •  
      CommentAuthorThor
    • CommentTimeJan 30th 2012
    plindboe wrote
    Thor wrote
    I've long wanted to do a series of playlists that focus more on certain setpiece tracks within scores rather than the main themes (or main/end titles) themselves. That have a sort of independent quality, as self-sufficient mini-pieces within the overall main score.

    First out is Goldsmith. I went through my collection and picked out these:

    http://www.celluloidtunes.net/non-website/setpieces.jpg

    Not all scores have such a centerpiece track, so there were scores I didn't include (or that I have to re-familiarize myself with to find).

    What essential Goldsmith tracks am I missing?
    Any of you tried similar playlists/compilations? If so, with what composers?


    I've no idea what a setpiece track is other than as you stated it's not a main theme and it's not in the main title or end title of the movie.

    So if I look at the tracklist to The good, the bad and the ugly are tracks 2-11 setpieces?

    1. Il buono, il brutto, il cattivo
    2. Il tramonto
    3. Il forte
    4. Il deserto
    5. La carrozza dei fantasmi
    6. Marcetta
    7. La storia di un soldato
    8. Marcetta senza speranza
    9. Morte di un soldato
    10. L'estasi dell'oro
    11. Il triello

    Peter dizzy


    Of those, the only real setpiece track I would pick out is "Ecstasy of Gold".

    It's not that hard to understand, is it? It's a climactic track (often for a climactic scene) that has a definite beginning, middle and end, that is a small work onto itself, basically.
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      CommentAuthorErik Woods
    • CommentTimeJan 30th 2012
    plindboe wrote
    I've no idea what a setpiece track is other than as you stated it's not a main theme and it's not in the main title or end title of the movie.


    He means something like THIS!

    -Erik-
    host and producer of CINEMATIC SOUND | www.cinematicsound.net | www.facebook.com/cinematicsound | I like to suck John Williams' dick!
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      CommentAuthorplindboe
    • CommentTimeJan 30th 2012 edited
    Thor wrote
    Of those, the only real setpiece track I would pick out is "Ecstasy of Gold".

    It's not that hard to understand, is it? It's a climactic track (often for a climactic scene) that has a definite beginning, middle and end, that is a small work onto itself, basically.


    But why wouldn't tracks like Il deserto, La storia di un soldato or Il triello fall under that? They are all exquisite standalone pieces in the movie and on album.

    Peter dizzy
    • CommentAuthorTimmer
    • CommentTimeJan 30th 2012
    The Desert is an outstanding piece.
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      CommentAuthorThor
    • CommentTimeJan 30th 2012
    Erik Woods wrote
    plindboe wrote
    I've no idea what a setpiece track is other than as you stated it's not a main theme and it's not in the main title or end title of the movie.


    He means something like THIS!

    -Erik-


    Definitely, yes. I'll do one on Williams later. He has LOTS!
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      CommentAuthorThor
    • CommentTimeJan 30th 2012
    plindboe wrote
    Thor wrote
    Of those, the only real setpiece track I would pick out is "Ecstasy of Gold".

    It's not that hard to understand, is it? It's a climactic track (often for a climactic scene) that has a definite beginning, middle and end, that is a small work onto itself, basically.


    But why wouldn't tracks like Il deserto, La storia di un soldato or Il triello fall under that? They are all exquisite standalone pieces in the movie and on album.

    Peter dizzy


    I need to listen to those again....I'm not too familiar with the soundtrack.
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      CommentAuthorplindboe
    • CommentTimeJan 30th 2012 edited
    I guess what would be nice is a precise definition. From what I gather a setpiece is a climatic moment in the movie as well as on the album, and it's not a major theme or part of the main title or end title.

    Is that the definition?

    Peter smile
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      CommentAuthorThor
    • CommentTimeJan 30th 2012
    plindboe wrote
    I guess what would be nice is a precise definition. From what I gather a setpiece is a climatic moment in the movie as well as on the album, and it's not a major theme or part of the main title or end title.

    Is that the definition?

    Peter smile


    Yes. It also seems to float 'above' the narrative in extended scenes (especially montages and stuff) with less mickey-mousing and film-specific turns.
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      CommentAuthorErik Woods
    • CommentTimeJan 30th 2012
    It's pretty much a piece of music that stands on its own. Something that you would hear in the concert hall. Williams is the master of creating film music that transcends the film. The Asteroid Field (Empire Strikes Back), Scherzo for Motorcycle and Orchestra (Last Crusade), Cadillac of the Skies (Empire of the Sun), The Barrel Chase (Jaws), The Land Race (Far and Away), The Magic of Halloween (E.T.), The Lost Boy Chase (Hook), etc.

    -Erik-
    host and producer of CINEMATIC SOUND | www.cinematicsound.net | www.facebook.com/cinematicsound | I like to suck John Williams' dick!
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      CommentAuthorplindboe
    • CommentTimeJan 30th 2012
    Ahh, I think I get it now.

    Perhaps The good, the bad and the ugly was a bit of an extreme example to choose then, because it's filled with these kinds of standalone climatic pieces. Most scores only have one or two if any of these pieces.

    Coincidentally I'm currently listening to The horse whisperer and I thought Montana would fit this bill beautifully (http://www.youtube.com/watch?v=3b9cByzSopA). It kinda stands out from the rest and it just floors you with its beauty.

    Peter smile
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      CommentAuthorplindboe
    • CommentTimeJan 30th 2012 edited
    Thor wrote
    I need to listen to those again....I'm not too familiar with the soundtrack.


    shocked

    Familiarize yourself with it this instant! Being unfamiliar with the greatest soundtrack ever composed is unacceptable as a soundtrack geek.

    Peter smile
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      CommentAuthorBobdH
    • CommentTimeJan 30th 2012 edited
    I love those kinds of tracks, and indeed, John Williams seems to be the master of such concert suites. It's mostly the tracks I keep revisiting the most of a score, when I'm not listening to all of it. I don't necessarily think about Goldsmith if i think about such compositions, but since you specifically asked about him, here goes...

    Lost in the Wild (THE EDGE)
    The Caravan (THE MUMMY)
    Old Bagdad (THE 13TH WARRIOR)
    Assembly Line (SMALL SOLDIERS)
    Forest Hunt (LIONHEART)
    The Hunt (THE FINAL CONFLICT)
    The Killers Arrive (THE BOYS FROM BRAZIL)
    Break Out (CAPRICORN ONE)
    Procrastinate now. Don't put it off.
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      CommentAuthorplindboe
    • CommentTimeJan 30th 2012
    Wouldn't Lost in the wild be a main theme?

    Peter uhm
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      CommentAuthorErik Woods
    • CommentTimeJan 30th 2012
    It's a track that contains the scores main theme but is written specifically for one of the flying sequences in the film. IMO, "Lost in the Wild" is a PERFECT example.

    -Erik-
    host and producer of CINEMATIC SOUND | www.cinematicsound.net | www.facebook.com/cinematicsound | I like to suck John Williams' dick!
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      CommentAuthorplindboe
    • CommentTimeJan 30th 2012 edited
    But Thor said in the OP that setpieces weren't main themes.

    I give up.

    Peter confused
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      CommentAuthorBobdH
    • CommentTimeJan 30th 2012 edited
    A center piece can feature one, or several, of the main themes, however it isn't composed or presented as such (merely the so-and-so theme, or Main Theme, of the score), since such cues focus by definition on a single concept.
    Procrastinate now. Don't put it off.
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      CommentAuthorErik Woods
    • CommentTimeJan 30th 2012 edited
    He meant the main or end titles.

    If you look at Thor's playlist he has included "The Enterprise" from Star Trek: The Motion Picture. That cue most certainly contains Goldsmith's Trek theme, however, if he added "Main Title" to the playlist that would have broken the rules.

    BTW, "Klingon Battle" is another great example!

    -Erik-
    host and producer of CINEMATIC SOUND | www.cinematicsound.net | www.facebook.com/cinematicsound | I like to suck John Williams' dick!
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      CommentAuthorplindboe
    • CommentTimeJan 30th 2012
    Thanks for explaining guys. Guess the definition of a setpiece is "any climatic piece that isn't the main title or end title".

    I'll just lurk this thread from now on. This stuff is like rocket science to me, and I don't want to make more of a mess of this thread.

    Peter smile
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      CommentAuthorErik Woods
    • CommentTimeJan 30th 2012
    plindboe wrote
    Thanks for explaining guys. Guess the definition of a setpiece is "any climatic piece that isn't the main title or end title".


    I'd go back to my original definition. A set piece is pretty much a piece of music that stands on its own. A piece of film music that transcends the film. It doesn't necessarily have to be big and climactic for a piece to work on its own. Think about "The Reunion" from A.I.

    -Erik-
    host and producer of CINEMATIC SOUND | www.cinematicsound.net | www.facebook.com/cinematicsound | I like to suck John Williams' dick!
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      CommentAuthorThor
    • CommentTimeJan 30th 2012
    plindboe wrote
    Thor wrote
    I need to listen to those again....I'm not too familiar with the soundtrack.


    shocked

    Familiarize yourself with it this instant! Being unfamiliar with the greatest soundtrack ever composed is unacceptable as a soundtrack geek.

    Peter smile


    I know, I know. I'm well familiar with the film, of course, and I have portions of the score on the odd compilation, but I've never owned the whole soundtrack.
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      CommentAuthorThor
    • CommentTimeJan 30th 2012
    plindboe wrote
    Thanks for explaining guys. Guess the definition of a setpiece is "any climatic piece that isn't the main title or end title".

    I'll just lurk this thread from now on. This stuff is like rocket science to me, and I don't want to make more of a mess of this thread.

    Peter smile


    No, no, please add. I think you've got the gist of it.

    Of course, a setpiece track may contain the whole or bits of the main theme(s). It may also be in the beginning of the film. "Journey to the Island" from JURASSIC PARK is a good example. It isn't a main title sequence, but it works as a kind of overture nonetheless.

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