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John Williams - Temple of Doom Transcription

Discussion in 'Critique & Feedback' started by Sean Gould, Aug 17, 2018.

  1. Very impressive.
     
  2. This is insane.
     
  3. Hi Sean,

    first off all: I think that was a painful experience? :D I mean don´t get me wrong, I love those chaotic action cues from williams but transcribing that stuff is a hell of an undertaking imo. However, I have another question: did you learn something apart from Williams love for triadic brass stabs, elefant low brass stomps, swirly runs and swirly free counterpoint, I mean his approach in structure here? Anybody get an idea about the skeleton of that composition here and how you approach writing a piano draft which results in that track? I have done by myself a few experiments a while ago but I would like to know more input here. Thanks for sharing.
     
  4. Awesome work man! This must have take forever to do
     
  5. Fantastic job! You and your template are killing it.
     


  6. "0:47" How the Yisus Craistsss did you managed to make the violin sound so good there?!?! :O
     
  7. Thats the live recording reference..
     
  8. *Faceplam... that´s why you need to sleep at least 5 hours folks! don´t be like me! :rolleyes:
     
    Alexander Schiborr likes this.
  9. :D no problem mate. :D
     
  10. first off all: I think that was a painful experience? :D I mean don´t get me wrong, I love those chaotic action cues from williams but transcribing that stuff is a hell of an undertaking imo. However, I have another question: did you learn something apart from Williams love for triadic brass stabs, elefant low brass stomps, swirly runs and swirly free counterpoint, I mean his approach in structure here? Anybody get an idea about the skeleton of that composition here and how you approach writing a piano draft which results in that track? I have done by myself a few experiments a while ago but I would like to know more input here. Thanks for sharing.[/QUOTE]

    Hmm... the way I understand the structure after hearing it a few times would be more or less like this:

    -0:00 to around"0:10 would be the introduction
    -0:16 in the Horns is the first thematic material ("motive A") I hear and is developed until around 0:47
    -0:48 seems to be the following section "0:53-56" ("Motive B"), develops until around 1:29
    -1:30 next section we hear back the A motive from "0:16" together with the B motive "1:32", develops until "1:56"
    -1:57 CODA? No clue where this melody in the violins came from...

    That´s kind of what I think now of the form.... I think overall, it is a pretty loose form, I don´t think we ever have "sections" as textbooks says.

    What are your thoughts on the structure?! :)
     
    George Streicher likes this.

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