I came across the concert score for most of the cues from The Amazing Spider-Man the other day, and really liked what I would call a small counterpoint figure played by the french horns in the end credits cue. It´s during the final statement of the main theme, after the rallardando. Just a small thing I didn´t notice in the recording (might be just me).
Actually a lot of interesting details in those score sheets.
I noticed a gorgous bit of counterpoint in "Neville's Waltz" by Patrick Doyle (HP4) this morning. That track could have ne written by (and I suppose may have been temped with) Tchaikovsky.
I'm not one for wussy little waltzes, to be frank, and no Strauss (with the incidental exception of Richard) will ever knowingly meet my stereo, but I'm terribly fond of this one.
One of my favourite counterpoint passages of all film music, is a section in "The Secret Wedding" from Braveheart, where we have the main theme of the piece in the strings, and on top of that, the oboe plays a magnificent contrapuntal line.
Oh yes, I remember that one, it was also one of my favourite moments in that soundtrack.
I like the melding of Indy and Short Round's themes in the End Credits of Indiana Jones and the Temple of Doom. Shame it was left off of the Box Set release of 2008.
A really nice (and recent!) example is the end credits suite from Star Trek in 2009, where Giacchino blends together the original Courage theme and his new one. I've actually used that as an example when explaining what counterpoint is in the past.
A really nice (and recent!) example is the end credits suite from Star Trek in 2009, where Giacchino blends together the original Courage theme and his new one. I've actually used that as an example when explaining what counterpoint is in the past.
He seems to like the special dramatic effect of counterpoint - he also used this approach for the finale in SUPER 8.
