[Closed] Now Playing XLIX

A texture is more what you do with the instruments, not just the choice of them. Orchestration is more vertical (literally on the score sheet), while texture is more about how you develop it (more horizontal). That's how I see it, anyway.



So is JXL. But unlike MG, he also has a far wider dynamic in his music. His grasp on electronica allows him to do gorgeous things like DISTANCE BETWEEN DREAMS and his orchestral skill has more soul, emotion and thematic identity than anything MG has ever done. This will be particularly evident in his upcoming BRIMSTONE, which I'm confident will surprise more than a few people.

Oh, this is a far more serious matter, Thor. You might be seriously ill, especially when you write nonsense like this. "His orchestral skill has more soul, emotion and thematic identity than anything MG has ever done."

This one is a doozy, too. "Orchestration is more vertical (literally on the score sheet), while texture is more about how you develop it (more horizontal)."

-Erik-

I'm pretty sure Thor is using different definitions of the terms "texture" and "dynamic range" than we are, Erik. Possibly also of "music".

No but seriously, Thor, claiming that JXL's orchestral writing is better than Giacchino's comes very, very close to being an outright lie. If it wasn't for that damned subjectivity of the arts thing...but seriously. SERIOUSLY.

Thor is trying to separate orchestration and texture. Orchestration IS texture... and rhythms and harmonies. It's important for sure but it's part of the orchestration process, not its own separate thing. The moment you add notes to a page you are adding texture.

-Erik-

ROGUE ONE - Michael Giacchino

Hmm. Michael Giacchino seems to be so caught up in recreating the John Williams Star Wars sound, that he forgets to develop his own themes. The music livens up when the good old themes come up, and they do with a certain regularity yet always just a fragment, and the whole march- and brass heavy sturm und drang does make an entertaining score, but whereas Star Wars is all about putting themes front and center, Giacchino disappoints in this area, with his most notable new march-theme suspiciously sounding like a Giacchino-fied version of Williams' March of the Resistance from The Force Awakens. I'm curious to see if this will reveal more intricate thematics over repeated listens, but I'm afraid this will remain Star Wars light - entertaining yet forgettable. At least on first listening there's nothing that sticks.

Thanks for that discussion, Thor and Edmund! One of the most interesting things here lately. I hope to listen to the score tonight.
Volker

Just played: Rogue One: A Star Wars Story (2016) - Michael Giacchino

Oh, well, I guess my verdict will be as predictable as has been Thor's: I am awestruck!

I see this on par with McNeely's Shadows Of The Empire and that says something!

I love the treatment of William's original material. Especially the way he indicates the Main Theme without ever stating it is of incredible elegance and subtlety.

This is STAR WARS sans Jedi, so a good bit of grandeur and sense of wonder is gone. This is - I assume - a down to galaxy thriller and the score reflects that.

I am very happy with what I just listened to and will give it repeated runs throughout the holidays.

Volker

Just seen the film which I liked a lot ( I look forward to the boards biggest Star Wars fan giving his views ), Giacchino's score isn't 'utterly dreadful', far from it but it also isn't that great, I'd rate it 2/5 in film context, he has great chops but he is no John Williams ( but then who is? ).

Personally I'm very disappointed Alexandre Desplat was dropped.

While I obviously disagree in your assessment of ROGUE ONE, I do share your enthusiasm for SHADOWS. Superb STAR WARS score!

Me too!

Nice that there are still thing that we all agree upon.

NP R1 again.

Can't help it, Giacchino music just makes me feel good. Is that a blaster beam in Jedha Arrival?

Actually, I disagree with you on that one as I've been giving that some thoughts, how The Force Awakens was initially condemned for having not enough new themes versus now that same argument for Rogue One.

Maybe Force is not a score that is packed with major and minor interplaying themes, but it does prominently feature both major new themes like Rey's Theme and the March of the Resistance, both referenced throughout, ending with the wonderful Jedi Steps theme that shows Williams setting themes up for films to come and thus showing he's simply starting to build a new house of themes for this trilogy, and full bodied reprisals of classic themes. I don't think you could say The Force Awakens is a child of the moment of having less themes - Williams simply tried to start with a blank slate again, to build another thematic world, which is only logically not as heavily populated with themes as, say, a third part of a trilogy.

Then compare this with Rogue One, a score that is by no means as well developed in his new themes and only references parts of classic themes without giving them full blooded takes. It's almost as if Giacchino is hesitant to put too much of his own stamp onto the franchise, or it's his lack of time showing (the Imperial Suite resembling his Jurassic World march to a shocking extent). To my understanding, Rogue One is NOT that concerned as The Force Awakens is with building its own thematic universe.

I just got back from the film (which I didn't particularly like) and thought the score was a misfire in context. It mostly works on album but there was moment after moment in the film where it felt misjudged and distracting. Giacchino can write a score like this in his sleep so I'm just going to assume that the time constraints were a major impact.

NP: Beverly Hills Cop (1984) & Beverly Hills Cop II (1987) - Harold Faltermeyer

I wouldn't call these Grails, but for a connoisseur of 80s electronica those two releases are a minor dream come true.

Volker