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Posted: |
Jan 8, 2011 - 2:28 PM
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By: |
Heath
(Member)
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I thought you might say that, Heath. But you do compose, right? I get the impression that the main title leaves a whole load of room for improvisation. Hence my going on about musical timing, or punctuation. Because alot of the inventiveness in his scores (at least to me) is in the emphasis in the musical phraseology. Jeff once wrote that he had musical structure in his bones. I'd really like to have seen the jamming sessions for this piece. Imagine that?
Yeah, I think his scores from those days did have that organic, slightly unstable quality about them producing music that no matter how many times you listen to it seems to be about to go off in a unexpected direction from one second to the next. A few other composers had this quality too, like North and Fielding - improvisational in spirit if not in practice. I think this was a mark of the progressive times (60s/70s) when fewer boundaries existed and fewer people could tell them they COULDN'T do it. But in later years, Goldsmith seem to lose a bit of that, imo, preferring to write more systematically. He wasn't alone. Nowadays virtually every new score I hear is so sewn up and "strict" that there's no organic room left. No intuitive silences for US to play in. One score after the other is a boring, over-produced, predictable, interchangeable fait accompli.
Here's Tom with the weather..........
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It's a machine that records and replays an acoustic sound. If you record an entire acoustic symphony on a tape machine and play it back is that electronic music?
Jeffrey, jeffrey, jefrey..
you disappoint me 
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looks 'acoustic' to me
I believe the word you're looking for is analog. It doesn't look acoustic at all.
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Yes, Mellotrons did have an electric guitar setting (on the old MK II units) as did the Chamberlin (it's US ancestor)
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Vibes are also electric
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