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Comments about the soundtrack for Children of Dune (Brian Tyler)

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Re: Tonality
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• Posted by: Mac Styran   <Send E-Mail>
• Date: Monday, April 7, 2003, at 6:22 a.m.
• IP Address:
• In Response to: Tonality (Joshua Luetkemeyer)

> Coming from a graduate student in composition... it's hard to compose
> anything "tonal" that hasn't been done before. Composers in the
> last 400 years have pretty much exhausted all tonal possibilities. In the
> last 50 years, tonality has found new life through new instruments and
> rhythmic complexity. There is a movement away from tonality though. Film
> music itself is about 60 years behind "serious" music (as my
> composition teacher would say). Since the 2nd Viennese (sp?) school (Berg,
> Webern, Schoenberg), tonality has gradually lost its place in the music
> world. Atonal or Pantonal music; however, is not really accessable to most
> of the listening world (I don't really care for much of it). This is where
> scores like LOTR come in. Would it surprise people to learn that the
> majority of that score isn't tonal? (I'd say about 55% to 60%). The chords
> didn't have typical uses in diatonic or borrowed means. The voice leading
> made the piece rather than accepted progressions (such as iv, IV, V, I).
> I've used this type of stlye for a long time (quasi Barber).

> The point of this... it's hard to be totally (or even somewhat) unique in
> music without extending tonality. And most film score listeners (I may be
> stereotyping too much) probably wouldn't really care for it.

Yup, you stereotype too much.
I don't mind using certain "patterns" all over again, especially when they sound good. And after all, you can identify 90% of Hans Zimmer's scores by the chords he uses.
I'm a composer myself and I say: this particular score blandly took Deep Blue Sea and Gladiator and tried to keep the end result as close to the original as possible.

In other words: RIP OFF.
A beautiful and well crafted rip off.


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