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| Which type of cue would you like to see more of on an original soundtrack release? |
| Overture |
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30% |
[ 3 ] |
| Suite |
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30% |
[ 3 ] |
| Concert Arrangement |
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10% |
[ 1 ] |
| Live Performance |
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0% |
[ 0 ] |
| Dialogue/Score Mix |
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20% |
[ 2 ] |
| Pop/Jazz/R&B Version |
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0% |
[ 0 ] |
| All Of The Above |
|
10% |
[ 1 ] |
| None Of The Above |
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0% |
[ 0 ] |
| I'd prefer them on a compilation |
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0% |
[ 0 ] |
| I'd prefer them on the DVD |
|
0% |
[ 0 ] |
|
| Total Votes : 10 |
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| Author |
Message |
 TheSnowLeopard
Lieutenant Commander
Joined: Mar 18, 2006
Member#: 13799
Posts: 347
Location: Sydney, Australia
   
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 Posted:
Fri Jun 09, 2006 5:38 am Post subject: Which type of cue would you like to see more of? |
 
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As music that accompanies scenes in a film, cues have many functions: a type of source music, to emphasise movement or action, to represent location or mood, a social or political period, an ethnic or cultural group, an actor's or audience's emotional state, or to comment on or interpret a scene.
Cues also have many forms, and it is those that are released from the constraints of the film to which they serve, and are written simply as an expression of the composer's art or for the entertainment of the listener, that this topic is focused on.
Overture
Examples/Favourites:
Twilight Zone Main Title Overture - Twilight Zone The Movie (Jerry Goldsmith)
When I think of overtures, I usually think of three things: opera, Gilbert & Sullivan and William Tell. Technically, the overture is constrained to some degree as it usually appears at the beginning of a musical composition and includes themes that will be later heard in the course of a film. I'm no music expert, but I always thought that the overture had been replaced by the Main Titles, or at least they were interchangeable. Some scores have both (The Notebook) while others have both an End Title and Main Title Overture (The Greatest Game Ever Played). Now I am confused! Anyway, my example is a bit of a cheat, as Twilight Zone was an unusual movie, structured into four stories, much like the Acts of a play or musical, but it is a great example of the overture in its purest form.
Medley
Examples/Favourites:
Motion Picture Themes/Television Themes Medley - Goldsmith Conducts Goldsmith (Jerry Goldsmith)
This type of cue is pretty unusual. This is the only one I could find. I'm not sure what prompts a composer to make this type of cue but I am all for it.
Suite
Examples/Favourites:
Band of Brothers Suite Two - Band of Brothers (Michael Kamen)
Suite From X2 - X-2 (John Ottman)
The suite seems closely related to the overture, in that in brings together many themes into one long composition. Quite a common type of cue, the suite makes a regular appearance on compilations, but not so much on original scores. A pity, as some composers (Thomas Newman comes to mind) would really benefit from long suites (Finding Nemo?) that would see their themes soar and flourish in all their glory.
Concert Arrangement
Examples/Favourites:
The Forest Battle (Concert Suite) - Star Wars: Episode VI - Return Of The Jedi (John Williams)
Like the suite, this cue type can be found on some compilations, but is quite rare on an original score. This is the only one I could find. I am always reminded of what John Williams did with his theme from Jaws on his Greatest Hits 1969-99 compilation. That concert arrangement is so much fun and the ending is a knockout.
Live Performance
All Tracks - The Wings Of A Film (Hans Zimmer)
The only live performance I have is from this compilation. Probably not realistic to expect it on an original score release, but maybe a special edition??
Dialogue/Score Mix
Examples/Favourites:
Main Titles, Blush Response & Tears in Rain - Blade Runner (Vangelis)
One Small Step, Launch Control & Failure Is Not An Option - Apollo 13 (James Horner)
I Am An Alien - In America (Gavin Friday & Maurice Seezer)
Mixing movie dialogue with the score can be very effective when done well. I think Blade Runner is a brilliant example of this. Very powerful. Apollo 13 is good, but I don't like the intrusion of the pop songs. This technique can also be quite poignant, as the track from In America will attest.
Pop, Jazz or other Interpretation
Can You Read My Mind (Alternative) - Superman The Movie (John Williams)
Theme from Close Encounters Of The Third Kind - Close Encounters Of The Third Kind (1977 Recording) (John Williams)
I am always reminded of the famous Meco recording of the Star Wars theme as a classic example of this type of cue. Yes, they can be cheesy, but also a lot of fun.
Well, I think that about covers it. Let me know what are your favourites or other examples that you know of.
_________________
"After dark all cats are leopards." - Native American Proverb |
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 Luther_III
Commander
Joined: Jun 20, 2005
Member#: 10621
Posts: 846
Location: New Orleans
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Posted:
Fri Jun 09, 2006 12:31 pm Post subject: |
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Hey Snow, nice topic!
I'm ambivalent on this one. I really like concert arrangements (it got my vote), as they tend to make certain cues more 'listenable' than they would be exactly as heard in the film. However, I also like to hear the score as it played in the film. 
Actually, I suspect many tracks are concert arrangements in disguise. Classic example: Star Wars (Ep IV). As first released, the soundtrack was arranged (per Williams' design) as a number of what you might call concert arrangements. The Main Title sequed directly into the End Titles, Princess Leia's theme was essentially a concert arrangement that appeared in its full form nowhere in the film, and The Final Battle consisted of a number of cues from the battle as well as earlier scenes stitched together. Contrast that with the lastest (1997, e.g.) releases: The Main Title seques into the Rebel Blockade Runner, and the Final Battle is essentially as heard in the film. Another SW example: Duel of the Fates is actually more like a concert arrangement that didn't feature fully in the film. It's not even in the Ultimate Edition of the album, except as the dialogue version.
I love concert arrangements, as they allow for expansion of the major themes with no time constraints, and they have tidy transitions and endings. However, as with Star Wars, I also want to associate what I hear with my memories of the scenes in the film.
Thus, if I were a soundtrack album producer, here's what I would do: I would release all the music (or as much as was economically feasible) as it was heard in the film. Then, I would add a 'bonus disc' of more listenable concert arrangements and/or suites. The best of both worlds   |
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Sound_Track
Lieutenant
Joined: May 15, 2006
Member#: 14512
Posts: 203
Location: Texas
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Posted:
Sat Jun 10, 2006 4:32 am Post subject: |
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Snow,
Is it possible for you to allow in your Poll, the option to pick more than one answer, ie instead of option all or none, simply picking which musical ideas that you would like to see more of.
Foe example, since a CD can take up to around --80-- minutes worth of sound, it seems like a good thing that original soundtrack releases can have, besides the basic original score: suites, jazz/pop/electronic renditions, concert pieces, dialogue/music pieces, etc.
AS a fan of film, what I really need to do, is to make my "own" soundtracks from the movies, for my own personal enjoyment. My "own" mix, if you will....
I really like the Vangelis "Blade Runner" sountrack, but, I would have put even more of the wonderful dialogue, as a matter of persoanl taste.
I feel it's my right to enjoy a movie, and it's sound any way I choose, in the pricavy of my home.
I suspect that SONY and others think otherwise, and that they believe that there needs to be a Digital "Big Brother" in every home .... for "our own good".....
Or something like that.....  )
_________________
Emergency Command Override 100375 ---- "READY WHEN YOU ARE SGT. PEMBRY ...." |
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TheSnowLeopard
Lieutenant Commander
Joined: Mar 18, 2006
Member#: 13799
Posts: 347
Location: Sydney, Australia
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Posted:
Sat Jun 17, 2006 5:19 am Post subject: |
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Luther, you make some excellent points..
| Luther_III wrote: |
| Actually, I suspect many tracks are concert arrangements in disguise. |
I never considered this but you're right. The original 1982 version of the E.T. score contains only 8 tracks which are sort of like self-contained pieces, particularly compared to the 1996 re-release.
Similarly, the 1977 recording of Close Encounters of the Third Kind has some tracks, like 'I Can't Believe It's Real' which are not on the 1998 re-release.
It is interesting that in these two examples, the so-called expanded versions have actually moved away from concert arrangemets and have tried to tailer the score cues even more to the scenes in which they appear. Personally, I much prefer the original versions because they sound more like a complete symphonic movement.
| Luther_III wrote: |
| I love concert arrangements, as they allow for expansion of the major themes with no time constraints, and they have tidy transitions and endings. |
Couldn't have put it better myself.
| Luther_III wrote: |
| Thus, if I were a soundtrack album producer, here's what I would do: I would release all the music (or as much as was economically feasible) as it was heard in the film. Then, I would add a 'bonus disc' of more listenable concert arrangements and/or suites. The best of both worlds |
I'm with you there, except I would add some movie dialogue in a few tracks and they could all be played against a DVD showing scenes from the film just like John Williams did with the Revenge of the Sith CD.
Which reminds me I haven't even voted in my own poll.  I was torn between the concert arrangement and dialogue/score mix, and decided to opt for the latter. Whenever I imagine creating my own compilations, I would love to be able to insert some quotable dialogue between tracks.
_________________
"After dark all cats are leopards." - Native American Proverb |
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