 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Any similarities between this score and THE CHASE?
|
|
|
|
|
|
Not particularly.
I mean, John Barry has a very distinctive style as you know so you will clearly hear 'Barryisms' in the way that he has a particular stylized use of certain sections of the orchestra: the particular stylized way he likes to write brass statements; the way he likes to double xylophones or marimba with flutes; etc.
So, I'm sure you'll hear some of those particular stylized uses in both.
But apart from that, which is something general and not particular to "THE CHASE", no, I don't perceive any particular similarity.
Cheers
|
|
|
|
|
|
Not particularly...I mean, John Barry has a very distinctive style as you know so you will clearly hear 'Barryisms' in the way that he has a particular stylized use of certain sections of the orchestra...
Yes, to the degree these scores are similar, it's in the "danger chords" and metronomic snares and similar Barryisms.
Still haven't seen the MONTE WALSH, but I suspect THE CHASE and MONTE WALSH are very divergent thematically, hence a different "viewpoint" by Mr. Barry.
External and sardonic--except for the Brando character--in THE CHASE, and internal and entirely sympathetic to Lee Marvin in MONTE WALSH.
|
|
|
|
|
|
|
|
|
|
|
| |
|
|
|
|
|
|
|
|
|
