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OUTSTANDING SINGULAR PIECES OF FILM MUSIC BRILLIANCE

General Discussions » OUTSTANDING SINGULAR PIECES OF FILM MUSIC BRILLIANCE (Posts 121 to 150 of 585)

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    • CommentAuthorTimmer
    • CommentTimeSep 5th 2014 edited
    Here's everyone's choices so far...

    1) The Ecstasy of Gold - THE GOOD THE BAD AND THE UGLY - Ennio Morricone ( Timmer )
    2) Leia's News / Light of The Force - REVENGE OF THE JEDI - John Williams ( Captain Future )
    3) Genesis Countdown - STAR TREK II THE WRATH OF KHAN - James Horner ( Steven )
    4) The Visitors / Buy / End Titles - CLOSE ENCOUNTERS OF THE 3rd KIND - John Williams ( Steven )
    5) Ride of The Firemares - KRULL - James Horner ( Southall )
    6) An Odd Discovery Beyond The Trees - THE BOY IN THE STRIPPED PYJAMAS - James Horner ( Thor )
    7) The Enterprise - STAR TREK THE MOTION PICTURE - Jerry Goldsmith ( Atham )
    8) The Blooding - THE FINAL CONFLICT - Jerry Goldsmith ( FalkirkBairn )
    9) Banishment / Forgiveness - EL-CID - Miklos Rozsa ( Ralph Kruhm )
    10) Adventures On Earth - E.T. THE EXTRATERRESTRIAL - John Williams ( Ralph Kruhm )
    11) Chevalier de Sangreal - THE DA VINCI CODE - Hans Zimmer ( Ralph Kruhm )
    12) Ben's Death and The TIE Fighter Attack - STAR WARS - John Williams ( Timmer )
    13) The Second Coming - THE FINAL CONFLICT - Jerry Goldsmith ( Timmer )
    14) The Asteroid Field - STAR WARS THE EMPIRE STRIKES BACK - John Williams ( Erik Woods )
    15) Homer Goes Upstairs - THE BEST YEARS OF OUR LIVES - Hugo Friedhofer ( sdtom )
    16) 007 And Counting - DIAMONDS ARE FOREVER - John Barry ( Timmer )
    17) The Great Eaton - THE LADY IN THE WATER - James Newton Howard ( Steven )
    18) Redemption - FLATLINERS - James Newton Howard ( Captain Future )
    19) Mona - MONA, L'ETOILE SANS NOM - Georges Delerue ( Captain Future )
    20) The Desert - SEVEN - Howard Shore ( FalkirkBairn )
    21) Main Titles / End Titles - LO IMPOSSIBLE - Fernando Velazquez ( Demetris )
    22) You Are The Pan - HOOK - John Williams ( Ralph Kruhm )
    23) I Had A Farm In Africa - OUT OF AFRICA - John Barry ( John Chambers )
    24) Welcome To Jurassic Park - JURASSIC PARK - John Williams ( John Chambers )
    25) Motel - PETULIA - John Barry ( Timmer )
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
  2. Vertigo Prelude - Bernard Herrmann

    Hypnotic and transportive, surely one of the most mesmerising main titles of all time.

    Thanks for listing them Tim, I have the vast majority of them so I'm making a playlist of them.
    • CommentAuthorTimmer
    • CommentTimeSep 5th 2014 edited
    Excellent idea John. It will make for an excellent, if eclectic, playlist. cool

    Your Herrmann choice is one of the most spectacular pieces of film music ever written and it is now quite rightly iconic.
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
    •  
      CommentAuthorSteven
    • CommentTimeSep 5th 2014
    Erik Woods wrote

    The Asteroid Field," IMO, is the best of the best. It's hard to describe way I think that way but it's absolutely and utterly perfectly from start to finish. And what makes it so great is that not only is it a superb "film music" track matching all the sync points and emotional heights as it goes along,, it's just a great stand alone piece of music as if written without the aid of the film. I hope that helps with why I chose it and why I think so highly of the piece. BTW, I also LOVE the concert version of The Asteroid Field.


    Amen! cheesy


    I like creativity (Derievere's Remember Me) but I also love simplicity (BT's Monster).



    Hallelujah! punk


    But I'm not sure if you remember this or not but I think "Bounty Hunter Pursuit" is one of the worst Star Wars action tracks Williams has ever written. It felt like filler for a scene that really didn't need music. It seemed like Williams was utterly bored writing his score to Attack of the Clones, save for two or three outstanding cues. "Bounty Hunter's Pursuit" is just aimless.


    HEY! angry
    •  
      CommentAuthorErik Woods
    • CommentTimeSep 5th 2014 edited
    lol

    PS - My spelling and grammar is atrocious! shame
    host and executive producer of THE CINEMATIC SOUND RADIO PODCAST | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS!
  6. Huckleberry Finn and his Friends

    the show was a Canadian-German co-production back in 1979. The series is hugely popular in Germany and has seen reruns even in recent years.
    The title track is a treasure of 45 seconds. The composer is Ted Ottley, who would later abandon a composing career in favour of writing.

    https://www.youtube.com/watch?v=BseX8-M3V2Q

    Volker
    Bach's music is vibrant and inspired.
    • CommentAuthorTimmer
    • CommentTimeSep 5th 2014
    A nostalgic choice Captain!?
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
  8. Oh yeah! It was one of those moments, when I found that sweet little tune on some compilation of tv themes in a CD shop. I could have hugged the stranger next to me. I hope everybody here experianced such moments.
    Bach's music is vibrant and inspired.
    •  
      CommentAuthorSteven
    • CommentTimeSep 5th 2014
    I have, but it's usually due to specific chemicals I've ingested.
  10. Look out! He has taken those happy-pills again! smile
    Bach's music is vibrant and inspired.
  11. These are peoples' idea of outstanding pieces and not just favourites aren't they?
    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
  12. Timmer wrote
    Film themes, TV themes, Game themes, Incidental music...all is welcome!

    Didn't this start out as being no main titles or am I just imagining this?
    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
    • CommentAuthorTimmer
    • CommentTimeSep 6th 2014 edited
    FalkirkBairn wrote
    Timmer wrote
    Film themes, TV themes, Game themes, Incidental music...all is welcome!

    Didn't this start out as being no main titles or am I just imagining this?


    If it's someone's favourite track then why not. I could mention a lot ( as could most everyone ) but personally I'm going to mostly keep to incidental film music tracks.

    D's mentioned the main theme to Lo Impossible, a great choice but not noticeable compared to someone saying the theme to, say, Star Wars.
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
    • CommentAuthormarkrayen
    • CommentTimeSep 6th 2014
    FalkirkBairn wrote
    "The Desert" from Howard Shore's SEVEN

    This track isn't currently available commercially but here's hoping that Howe Records give this excellent score the treatment it deserves and releases it in a fuller form than the suites currently available. I've included a link to the final scene. It goes without saying that there's bad language, a bit of blood and plenty of spoilers...

    http://youtu.be/1giVzxyoclE

    I remember being impressed with this cue the first time I heard it. The ostinato strings that start the cue off certainly grabs the attention and Shore then goes on to use a limited palette in a complex series of ways to echo the drama unfolding on screen. I can imagine that some may find the relentless melding of the music and the editing a bit forced, but I love it, as it emphasises the drama. Shore could have punctuated the opening of the box but rather chose to wait until we see Freeman's character suddenly realising what's unfolding.

    I do think that some of the elongated low string passages that are heard when the ostinato subsides can be a bit overly dramatic but keeping them in the low strings lessens that melodramatic feel.

    But, it's a great track for a great scene and I'm off to listen to the track once more.


    That's an original choice, and a great one too. I hadn't really "heard" the score in this scene before due to the nerve-wrecking tension. Excellent point you made on the choice of not accenting the opening of the box. But I also noticed a mind-blowing psychological trick at ca. 1.03 of the video, where the brass/string declamations on downbeats are abruptly replaced by a single low timpani, with the declamations moved to the offbeats. The shift in rhythm, orchestration, and volume illustrates the distance between the characters, as Somerset yells inaudibly as he runs back to warn Mills to put the gun down. Listen for it in the scene to get what I mean, it's a wonderful "hidden" effect!
    www.markcandasamy.no
    • CommentAuthorTimmer
    • CommentTimeSep 6th 2014
    Very astute Mark cool

    I hope you're going to choose your own track choices.
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
    • CommentAuthormarkrayen
    • CommentTimeSep 6th 2014
    "The Vast Continent" from Thomas Newman's "Horse Whisperer"

    This music that ends the film opens with a dissonant texture of ponticello tremolos and bright harmonics, but sensitively evolves to feature a wonderful english horn solo (a quasi-hommage to the Americana associations of Dvorak's "New World" symphony), lovely and stirring string orchestrations, and a breathtaking finale that ends somewhat ambivalently on a reprise of the distorted textures the cue opened with, a musical metaphor on the film's central theme of defeat and acceptance? My favourite scene by Thomas Newman.
    www.markcandasamy.no
    • CommentAuthormarkrayen
    • CommentTimeSep 6th 2014
    Timmer wrote
    Very astute Mark cool

    I hope you're going to choose your own track choices.


    Yes, I just did! smile
    www.markcandasamy.no
    • CommentAuthorTimmer
    • CommentTimeSep 6th 2014
    beer
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
  19. Well, one that comes to mind for me (unlike with scores, I find it quite difficult to rank tracks), "Forbidden Friendship" from the first How to Train Your Dragon. The rest of the score is great fun, brilliant of course, but it's that one moment that really elevates it into my inner circle of favorites. You can really sense the hesitance between boy and dragon as they tentatively start drawing closer, but also the underlying magic of friendship which grows stronger and stronger as the cue progresses. Powell absolutely nailed the essence of their bond, which is the heart of the entire movie.

    In short, it's probably my favorite cue from probably my favorite composer. Isn't that enough? love
  20. Thanks Mark for the comment. I will revisit that cue asap.
    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
    •  
      CommentAuthorMartijn
    • CommentTimeSep 6th 2014
    Timmer wrote
    REVENGE OF THE JEDI - John Williams


    I can't believe you listed this TWICE and no one reacted! biggrin

    12) Ben's Death and The TIE Fighter Attack - STAR WARS - John Williams ( Timmer )


    punk beer
    'no passion nor excitement here, despite all the notes and musicians' ~ Falkirkbairn
    • CommentAuthorTimmer
    • CommentTimeSep 6th 2014
    Martijn wrote
    Timmer wrote
    REVENGE OF THE JEDI - John Williams


    I can't believe you listed this TWICE and no one reacted! biggrin


    biggrin

    And I had no intention of fixing it* until it was noticed wink I knew it wouldn't get past you but I am surprised it got past the Captain.

    *I'll correct it on the next update, that way the original post will become a sought after rarity and multiply many-fold in value.
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
    •  
      CommentAuthorsdtom
    • CommentTimeSep 6th 2014
    Erik Woods wrote
    ^ Tom's the fanatic about that score. It's his all time favourite.

    -Erik-


    Yup I sure am. That goes back as long as we've known each other my friend.
    Tom smile
    listen to more classical music!
  24. Timmer wrote
    Martijn wrote
    Timmer wrote
    REVENGE OF THE JEDI - John Williams


    I can't believe you listed this TWICE and no one reacted! biggrin


    biggrin

    And I had no intention of fixing it* until it was noticed wink I knew it wouldn't get past you but I am surprised it got past the Captain.

    *I'll correct it on the next update, that way the original post will become a sought after rarity and multiply many-fold in value.


    It's all laissez faire as far as I am concerned. wink
    V.
    Bach's music is vibrant and inspired.
    •  
      CommentAuthorsdtom
    • CommentTimeSep 6th 2014
    Another of my favorite choices is THE RED PONY/COPLAND "Morning on the Ranch". One of the better orchestral tracks from the depiction of life in the west in the 19th century.
    Tom
    listen to more classical music!
    •  
      CommentAuthorsdtom
    • CommentTimeSep 6th 2014
    John Chambers wrote
    Vertigo Prelude - Bernard Herrmann

    Hypnotic and transportive, surely one of the most mesmerising main titles of all time.

    Thanks for listing them Tim, I have the vast majority of them so I'm making a playlist of them.


    Boy John when we talk about Herrmann there are so many powerful ones. Have you considered the North By Northwest main titles? Another possible good choice.
    Tom
    listen to more classical music!
  27. Would a composer's own personal edit of something count?

    Would something related to a project, by the composer, but not in it, count?




    My first choice:

    "The Mighty"
    Cue: My Noble Knight
    Composer: Trevor Jones
    https://www.youtube.com/watch?v=p0lt6L7FrXw (most of the first half is really low, turn the volume UP)

    Over twelve minutes of pure beauty. Perhaps one of the best things Jones has ever done. A soft and moving piece with the lyrical theme style of Barry mixed with the memorableness and tone of Goldsmith.

    I can't recomment it enough.
    The views and opinions of Ford A. Thaxton are his own and do not necessarily reflect the ones of ANYONE else.
    • CommentAuthorTimmer
    • CommentTimeSep 6th 2014
    justin boggan wrote
    Would a composer's own personal edit of something count?

    Would something related to a project, by the composer, but not in it, count?


    An example?
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
    •  
      CommentAuthorArtworks
    • CommentTimeSep 6th 2014
    Many great choises. But no Elfman on the list, so I'll throw 'Descent Into Mystery' from Batman into the mix. The best track IMO from the score that got me interested in film music. smile
    •  
      CommentAuthorplindboe
    • CommentTimeSep 6th 2014
    Great topic, Timmer.

    My first choice is:

    THE LEAVING/THE SEARCH from Poledouris' CONAN THE BARBARIAN

    Several tracks could be mentioned from this score, but this one gets to me the most. Emotional and sweeping and it's also played prominently in the movie. I love the entire track, but especially from 2:50 to 4:50. I love how I from 2:50 start thinking "Wow, this is so beautiful, it can't possibly get better", and then at 3:15 Poledouris takes it up a notch and I think "Wow! This is the most perfect music I've ever heard", and at 3:40 he makes it even more grand and sweeping and finally from 4:20 to 4:50 it completely blows me away. Never fails to affect me this track. Strangely, people don't seem to mention it often among their favourite cues, but perhaps that's because the entire score is so awesome.

    Peter love

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