The Name Game Pro Tip:
  1. Didja accidentally blow through the whole, "We're using our real names" thing on registration? No problem, just send me (Mike) a Conversation message and I'll get you sorted, by which I mean hammered-into-obedient-line because I'm SO about having a lot of individuality-destroying, oppressive shit all over my forum.
    Dismiss Notice
  2. You're only as good as the harshest criticism you're willing to hear.
    Dismiss Notice

Alan Silvestri Transcriptions

Discussion in 'Tips, Tricks & Talk' started by Alexander Schiborr, Jul 6, 2017.

  1. #1 Alexander Schiborr, Jul 6, 2017
    Not sure if that is the right section, otherwise @Mike Verta, just move it then to Silvestri Class Section.

    So, I did transcribe some bars from the "Father of the Bride" Maintheme from Silvestri.

    So the intro is practically just shifting suspended chords going up and ending finally on a D Sus4, which then I believe the D7 then is used to resolve to the G Maj where the maintheme is really starting.

    Whilst the Intro and A Section was pretty clear, I was not sure about the following:

    - Transitionchord from A Section to the B - Section (it is just half of a bar). I found some notes on the keyboard which feels right, but I am not sure how to name them.

    - As for the B Section I am quite unsure about if that is really an E min 7 / A min 7 going back to a D major..

    Would like to hear other opinions, here is the reference (first minute) I was transcribing:



    Attached are some notes:
    DSC_0078.JPG
     
    Wayne Bacer likes this.
  2. #2 Michael Antrum, Jul 6, 2017
    I love this theme - it's just so Hollywood - I've got the soundtrack on my phone so I'll have a look when I get to my hotel tonight.

    (Mind you if you can't be sure - I'm not sure I'll be much help....)

    At least I know what Im listening to on the drive there...
     
    Alexander Schiborr likes this.
  3. #3 Alexander Schiborr, Jul 6, 2017
    Me too, Michael, that is also the reason why I want to pack those harmonies in my arsenal. You can of course use my attached notes if you like.
     
    Michael Antrum likes this.
  4. #4 Mike Verta, Jul 6, 2017
    This isn't the voicing or anything, but attached are the simplified chords for the main melody...

    Incidentally, this is all the theme's 'A' section. B comes later.
     

    Attached Files:

  5. #5 Alexander Schiborr, Jul 6, 2017
    Last edited: Jul 6, 2017
    Thanks Mike, Did you put that together?

    Yes, it doesn´t say something about the voicings which I did sketched out , still, I am wondering and guessing: This piece is of course written on piano, so it can be performed. So for instance this intro where you have all this suspended chords: Those melody lines on the Trombones and the counterlines (is that right?)on the winds I guess this were what he played back then? But those arpeggios on the suspended chords, I guess this is a part of the orchestration? Or did A.Silvestri performed that as well. I mean he could have done that. left hand melody on the trombones while arpeggiating? This are the things which are somehow not clear how much of the initial piano arrangement was done and how much of it was added with orchestration.
     
  6. #6 Mike Verta, Jul 6, 2017
    Yes I quickly played that into Sibelius this morning. As for how it was done and what was played, it's hard to describe so I'll try to do an example for you.,
     
    Samuel Diaz likes this.
  7. #7 Claude Ruelle, Jul 9, 2017
    Mike, could you explain why the stylistic change around 1:20 doesn't feel incongruous, despite the fact that it's very sudden?
     
  8. #8 Alexander Schiborr, Jul 9, 2017
    Imo there are a few reasons why that works:
    1. You have to see the movie, so the music change serves at that point the picture scene which changes. I saw the movie recently.
    2. The logical resolution in Harmony from Dominant 7 to tonic, though the style changes the resolution in harmony is very logic there.
    3. When you clap the internal beat (doubletime feel) it starts also on the 1 count again, the slightly ritarndando from the previous cue at the end makes it easier.
     
    Claude Ruelle likes this.
  9. #9 Mike Verta, Jul 9, 2017
    The transition is a typical medley/overture transition. The extreme ritardando and decrescendo on the dominant creates a sort of pregnant pause and paves the way for almost anything - especially if it starts on the tonic.
     
    Claude Ruelle likes this.
(You must log in or sign up to post here.)

Share This Page