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 Posted:   Jul 8, 2013 - 12:36 AM   
 By:   Josh   (Member)

Don't ask what took me so long, but I finally picked up the FSM CD release of Point Blank/The Outfit. I'm listening to the latter right now for the first time, and I'll be damned if it doesn't have some of the most intricate, intelligent percussion writing I've ever heard in film music. Fielding was a master of syncopation and of grooves unpredictable. Shifty, twisty, bump-and-shaky, stab-and-grab and sizzle. Check out this short sample for a taste test:

http://www.filmscoremonthly.com/store/MP3/0508/24_OFFICE_SCUFFLE_KENILWORT.MP3

The percussion isn't just keeping time or used as sound effects; it's an integral part of the composition, organically intertwined in a sonic game of spider and fly in which the brass and woodwinds don't stand a chance.

That's a type of percussion writing that doesn't come from book learnin'--it's intuitive--and when it comes to Fielding, there are many other examples...

 
 
 Posted:   Jul 8, 2013 - 1:13 AM   
 By:   (Member)   (Member)

There are so many but let's narrow it down to FSM's titles.

Two tracks composed for the television score Hunters Are for Killing.

"You Tell Your Men/Chase"
http://www.filmscoremonthly.com/store/MP3/1311/15_You_Tell_Your_Men.mp3

"Elements"
http://www.filmscoremonthly.com/store/MP3/1311/16_Elements.mp3

There were so good that Fielding reworked them for McMillan&Wife.

 
 Posted:   Jul 8, 2013 - 3:06 AM   
 By:   Jim Phelps   (Member)

Fielding's work for Kolchak: The Night Stalker boasts some tremendous percussion work. The episode "Firefall" being only one of many standout examples.

 
 
 Posted:   Jul 8, 2013 - 9:25 AM   
 By:   Mr. Shark   (Member)

Check out this short sample for a taste test:

http://www.filmscoremonthly.com/store/MP3/0508/24_OFFICE_SCUFFLE_KENILWORT.MP3


Love the laid-back, swaggering, faltering 9/8 groove in that clip, with the strange alto flute/bass clarinet oscillations, like car alarms going off as the drum kit passes by.

 
 
 Posted:   Jul 8, 2013 - 10:17 AM   
 By:   (Member)   (Member)

The tight martial snare drum effect:

CINEMA
"The Wild Bunch" ["Main Title", "They Cleared Out", "Assault on the Train and Escape", "Angel Blows his Cork", "Give it to Him", "Adventure on the High Road", "Bounty Hunters", "Attempt to Save Angel", "Dirge and Finale"]
"The Getaway"
"The Super Cops"

TELEVISION
any "Mission: Impossible" scores
"Hunters Are for Killing"
"The Sound of Darkness" and "One for the Lady" (from MANNIX)
"Murder by the Barrel" and "The Easy Sunday Murder Case" (from McMILLAN & WIFE)
"Shirts/Skins"
"Angel of Mercy" (from THE BIONIC WOMAN)




 
 Posted:   Jul 8, 2013 - 10:26 AM   
 By:   chriss   (Member)

Great thread!
Yes, Fielding's mastery and genius was simply unparalleled. smile

 
 
 Posted:   Jul 8, 2013 - 10:55 AM   
 By:   Bill Finn   (Member)

The tight martial snare drum effect:

CINEMA
"The Wild Bunch" ["Main Title", "They Cleared Out", "Assault on the Train and Escape", "Angel Blows his Cork", "Give it to Him", "Adventure on the High Road", "Bounty Hunters", "Attempt to Save Angel", "Dirge and Finale"]
"The Getaway"
"The Super Cops"


Fielding also used the snare drum quite a lot in "The Outlaw Josie Wales", although more in a traditional way. Actually a whole lot like what one might hear in a program by one of those old
Drum Corps. (e.g. Star Of Indiana, etc.).

 
 Posted:   Jul 8, 2013 - 11:10 AM   
 By:   Josh   (Member)

Love those Hunters clips, (Member). That's another FSM Fielding CD I still need to get a hold of.

And Jim, I'd be first (ok, second) in line for a CD release of music from Kolchak.

Another monster percussion work by Fielding is Chato's Land. Thunder and lightning, indeed, but heavy on the thunder. It's a great score, but it sure ain't easy listening.

 
 
 Posted:   Jul 8, 2013 - 11:38 AM   
 By:   (Member)   (Member)

Another great FSM's Fielding CD with some powerful drum style:
THE GETAWAY

Listen to the top-notch "Casing the Joint":
http://www.filmscoremonthly.com/store/MP3/0818/04_CASING_THE_JOINT.MP3

 
 
 Posted:   Jul 8, 2013 - 11:48 AM   
 By:   (Member)   (Member)

And FSM's best colorful drumstyle scores symbolized by the dynamic duo:

THE SUPER COPS
Listen to the "Main Title"
http://www.filmscoremonthly.com/store/MP3/0902/2_01_MAIN_TITLE.MP3
Listen to "The Sniper"
http://www.filmscoremonthly.com/store/MP3/0902/2_02_THE_SNIPER.MP3

SHIRTS/SKINS
Listen to "The Opening Titles"
http://www.filmscoremonthly.com/store/MP3/1313/3-23_1-M-1_Opening_Titles.mp3
Listen to "The Stealing Nun"
http://www.filmscoremonthly.com/store/MP3/1313/3-29_The_Stealing_Nun.mp3

These two scores are perfect companions.

 
 
 Posted:   Jul 8, 2013 - 12:51 PM   
 By:   Mr. Shark   (Member)

Some great field drum moments in THE MECHANIC, too, usually with quartal harmony.

 
 
 Posted:   Jul 8, 2013 - 2:25 PM   
 By:   (Member)   (Member)

Watch the trailer of Johnny Got His Gun
which features a fine drumbeat style:

http://www.youtube.com/watch?v=qB7j4C6hBBA

 
 Posted:   Jul 9, 2013 - 3:41 AM   
 By:   Ag^Janus   (Member)

My favorite would have to be THE BIG SLEEP, doesn't require the fortitude demanded by CHATO'S LAND, but nonetheless top notch percussions, especially in the celeste/triangle/cymbal stuff.

 
 Posted:   Jul 9, 2013 - 3:35 PM   
 By:   lexedo   (Member)

Shark, fellas - You think that Fielding was actually writing out those drum lines (Mechanic, Wild Bunch, etc.)?

Specifcally I am thinking about his "signature" military snare lines, and the rim-hits on Rooftop Chase.

 
 Posted:   Jul 9, 2013 - 6:46 PM   
 By:   Josh   (Member)

Shark, fellas - You think that Fielding was actually writing out those drum lines (Mechanic, Wild Bunch, etc.)?

Specifcally I am thinking about his "signature" military snare lines, and the rim-hits on Rooftop Chase.
,


Although I referred to it as percussion "writing," I was actually curious about that aspect myself.

Did he write out every percussion part for each of his scores? Did he give the percussionists specific verbal instructions without writing out each part? Did he give them only general directions and the liberty to improvise? His approach may have differed from one score to the next, I don't know. Given that he had a jazz background, I wouldn't be surprised if he allowed some degree of improvisation (in his jazzier scores at least), but given the meticulous intricacy of the percussion parts in many of his scores, it seems like they almost certainly would have to have been written out for the musicians.

Is there anyone out there with more knowledge about Fielding's work habits who can enlighten us?

 
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