[Closed] Now Playing - Part XXI

Why would i? It wouldn't change a thing, you're fanatical :sigh:

People tend to overpower the role of orchestrators but i won't even go into those fields. I've been in studios with orchestrators working live and sure they can contribute a lot but they are always working under extremely firm lines and guidance, they don't do whatever they want you know. And the sound of Tyler is evident in each and every work he's composed, no matter the orchestrator but we've already been over this and you don't want to hear it, i won't change your mind.

As for the Holst thing:

Well, bold 3/4 was "invented" way before Holst you know.

Well, I know that bold 3/4 was invented before. But was the rhythm?

And yes, I do know Mars is written in 5/4.'

Or maybe is it a Horner reference? Horner used that rhythm quite a lot, though not in his earlier scores (Braveheart and Legends of the Fall - To the "Boys'" spring in mind).

I think Mars is in 5/4! Isn't it?

I don't think so. but I'll have to refer you to our local musicologist. Calling Demetris; come in, Demetris!

That was personal

Because Tyler, want it or not, is a referential composer. And especially in case of a score like Alien vs Predator where he seems really in love with his precedessors in both worlds (even Varese didn't mention Kloser, mind you ), he tries to write a score that fits both worlds in a more or less intelligent fashion and sadly I believe he does it in the latter way.

Goldsmith should trademark all odd meters. He would have made enough cash he wouldn't have to do all those shitty films

But that isn't a proper 5/4, is it? (Like in the tune Take Five, or Schifrin Mission: Impossible theme).
It's just 3/4 and 2/4 alternating?

No, I don't think it's 3/4 and 2/4 alternating. The division is probably very important in case of accents (if you divide it like that the accent goes on the first and fourth beat). And it helps conductors (doing two movements on the accented beat - downbeat starts the measure, upbeat ends it).

At last...

NP Alien Vs Predator - Requiem (Brian Tyler)

Wow, what´s all the discussion about?! This is great! Pure loud, big and non stop action music, for a movie that will be an action set piece after another. Who needs big themes and originality when all you need is kick ass and compose the boldest score of the year?

The cheapest / easiest / fastest way to approach this score was to compose the typical synth based score only to fill the gaps and follow the action; but no, Tyler was given a gift and he has had a great time (I´m assuming that listening the music an for what he said in an interview) writing this score. We should be happy he didn´t took the easy way. Playing it loooooud!

And as for Tyler´s own voice, well, it´s everywhere in AVP2. And all the homages to the former composers are nice and not simply a copy/paste. Man I´m enjoying the score and I will for sure enjoy the movie.

THANK YOU GODDAMIT 'CAUSE I WAS REALLY STARTING TO GET MAD HERE!!!!!!!



(Pawel: but really i think you're missing the point here )

Well after the (interesting) discussions about this score for the last days I had my reservations about it. But I can only enjoy it.

-All action? YEAH!
-The most original score of the decade? HELL NO, BUT IT WASN´T MEANT TO BE
-Kicks Asses? OH YEAAH
-Tyler in action fest mood? YES!

Come on Pawel, come on, play it again and have fun!

'Thanks for your extensive explanation, Demetris! I've learned something!

Demetris, these cranky obsessions let me find a voice of Michael Giacchino and in the end respect him even more than I really loved him after his Williams references called the first MoH scores. After two or three scores and even action tracks I managed to find a style of Marco Beltrami, who I rather dislike except Hellboy and I plan to hear I Am Dina, which I've heard really good opinions of.

This all happened because people start going over how great Brian Tyler is as a composer in a situation when I can't even define his personality. And a musical personality is something I am looking for. Not homages, temp-track love, but something very distinct. Aside from musical voice there are some things I rate highly with other composers. Michael Giacchino is one of the most intelligent composers working today. With Horner I've had (he lost it recently) a big child going in great emotional diatribes over the drama of the movies, no matter how it screws up the movie sometimes. With Zimmer I have either intelligence or his weird sense of humour, often present in an ironic twist in his most serious dramatic works, like Hannibal and his later "romantic comedy" remark. With Goldsmith I have his intelligent rhythmic patterns and odd meters. Most of today living and writing composers don't have that. They just do their jobs better or worse, sadly, mostly worse. From this generation, I would say Mansell is a very positive difference (for lack of the idiom).

Tyler loves what he does? Great. But I need something else. I mean, everybody working in the industry except people doing classical music as their main job love what their do. He is passionate perhaps more than anybody else and that has him having lots of fun while doing such a loud and, yes!, admittedly referential work like Alien vs. Predator. But being subtly referential and taking pages from other works, which he does here too, e.g. in a piece I always mention, which is Taking Sides, is something completely different *even* in a largely homage work. If I would write such a referential work, I would take and fully credit a theme from one of the movies and, frankly, I'd take Silvestri's Predator main title rhythm (I think he does actually). I wouldn't take Horner's Main Title, because it's really Gayane's Adagio . And then work around these basic patterns.

OK, easy to say for me, but I don't like myself in that matter and I never said I was a rather good composer, because I rip everybody and I know that. That's why I seldom show my own works, really. I had no education *at all* and can't do more than ripping off Zimmer and Horner, now probably I could add Brian Tyler to that matter, because, yes, there is a pattern he does repeat in almost every action score he does, it's very obvious to me in Decimation Proclamation. But many composers feature similar patterns today. That's why I take a lot of modern writing composers above Tyler and him being so praised like he is is something that does annoy me, because for me he is like everybody else from his generation except largely stylish Powell and aggressively percussive Giacchino using sul ponticello tremolo to a great effect, better than anybody else today.

Do I wish I could write something like AVP myself? Yes and no. Yes, because it is a very complex work outside of my own abilities as a composer. That I don't take away from Tyler, though I really wonder of Elhai's input in Tyler works. Me not having as good equipments wouldn't even let me use half of the effects he uses. No, because I would love to get a very strict compositional identity, without clear influences by other composers and temp-track. I said that many times above. For me, complexity is not enough. I can prefer a very simple work to a complex action piece if I find that work much more inspired and emotional.

Large rant here, but lack of a very strong identity and musical personality and being somewhat lackluster in his performances, I can't say what's wrong with them, I find the orchestra performs his works somewhat by the numbers always, makes me feel he is a way overrated composer. Partition didn't change my mind in that matter.

You have, if you've listened to the three of four scores Debney shamelessly copies from the temp-track! I might need to strike the comment I just made about Brian Tyler in his thread.