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Comments about the soundtrack for Knowing (Marco Beltrami)
Excellent Score!

Jonne Valtonen
<Send E-Mail>
(dsl-trebrasgw1-fe56fa00-56.dhcp.i
net.fi)


  Responses to this Comment:
Zakblue
Excellent Score!   Thursday, October 14, 2010 (7:01 a.m.) 
• Now Playing: Dutilleux : Metaboles  

I have to disagree a bit with the reviewer.

I think the main theme (simply an descending scale b-a-g-f-eb-db-b-a) is frigging excellent and itīs appearing everywhere in the whole score. It gets permutated, varied, augmented, diminished and fragmented but if youīre a contemporary buff, itīs quite easy to spot. Quite often it gets played over messians mode (2nd, octatonic), or diminished scale for you jazz guys.. This scale is symmetrical and fits quite well in the aesthetics of the movie itself IMO. Also in the main titles the main melody forms an interval of minor ninth (lowest and highest note), which is pretty much the only dissonance considered in the music today. (Take this statement with a grain of salt). So something is definetely dissonating here..

New World Around finally reveals the scale (=main theme) as a part of an overtone series. (harmonics played from the pizzicato strings especially underlines this). Overtone scale/partials comes from the laws of physics/sound. How things resonate in general. These are exactly the same notes (melody) than what there was there in the beginning (main titles, where the melody was harmonized more gloomily). So the circle closes. This underlines the movie so well IMHO!

Basically you have this huge cadence in the movie. V-I. All the pieces before NWA represent dominant and "New World Around" is the tonic. So in NWA everything is revealed and music can finally rest. Mystery solved. Iīd consider "Who Wants an Apple" more like a coda or something similar.

This has to be one of the most brilliant scores Iīve heard from some time now! And as such I donīt find it inconsistent or opposing to the movie at all.. The film was so-so, but what an score.



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Zakblue
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(cpe-58-175-114-76.hxwn1.lon.bigpo
nd.net.au)

  In Response to:
Jonne Valtonen
Re: Excellent Score!   Sunday, December 23, 2012 (6:04 a.m.) 

> I have to disagree a bit with the reviewer.

> I think the main theme (simply an descending scale b-a-g-f-eb-db-b-a) is
> frigging excellent and itīs appearing everywhere in the whole score. It
> gets permutated, varied, augmented, diminished and fragmented but if
> youīre a contemporary buff, itīs quite easy to spot. Quite often it gets
> played over messians mode (2nd, octatonic), or diminished scale for you
> jazz guys.. This scale is symmetrical and fits quite well in the
> aesthetics of the movie itself IMO. Also in the main titles the main
> melody forms an interval of minor ninth (lowest and highest note), which
> is pretty much the only dissonance considered in the music today. (Take
> this statement with a grain of salt). So something is definetely
> dissonating here..

> New World Around finally reveals the scale (=main theme) as a part of an
> overtone series. (harmonics played from the pizzicato strings especially
> underlines this). Overtone scale/partials comes from the laws of
> physics/sound. How things resonate in general. These are exactly the same
> notes (melody) than what there was there in the beginning (main titles,
> where the melody was harmonized more gloomily). So the circle closes. This
> underlines the movie so well IMHO!

> Basically you have this huge cadence in the movie. V-I. All the pieces
> before NWA represent dominant and "New World Around" is the
> tonic. So in NWA everything is revealed and music can finally rest.
> Mystery solved. Iīd consider "Who Wants an Apple" more like a
> coda or something similar.

> This has to be one of the most brilliant scores Iīve heard from some time
> now! And as such I donīt find it inconsistent or opposing to the movie at
> all.. The film was so-so, but what an score.

Yep. Reviewer was wrong again. Excellent score, movie not so great but the score was over achieving by a fair margin. I love the descending line that comes in the lower brass at the beginning of the credits (the tubist on the recording was a colleague of mine haha)



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