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Post by agentten on May 9, 2016 5:09:59 GMT
Murry Gold's "I am The Doctor" is more thrilling and nuanced than most major film scores. It gets my vote and I hope somehow Big Finish can use it for Eleven's future adventures.
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Post by paulmorris7777 on May 9, 2016 10:27:40 GMT
Murry Gold's "I am The Doctor" is more thrilling and nuanced than most major film scores. It gets my vote and I hope somehow Big Finish can use it for Eleven's future adventures. Prefer Jon Pertwee version. Murray Golds just gets louder and louder and repeats.
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Post by Deleted on May 9, 2016 10:53:16 GMT
Murry Gold's "I am The Doctor" is more thrilling and nuanced than most major film scores. It gets my vote and I hope somehow Big Finish can use it for Eleven's future adventures. Prefer Jon Pertwee version. Murray Golds just gets louder and louder and repeats. I have a rather big soft spot for the Pertwee version of "I am the Doctor". It's the lyrics that win me over every time. I cross the void beyond the mind, The empty space that circles time. I see where others stumble blind, To seek a truth they never find. Eternal wisdom is my guide. I am the Doctor. Through cosmic waste the TARDIS flies, To taste the secret source of life. A presence science can't deny, Exists within, outside, behind, The latitude of human minds. I am the Doctor. My voyage dissects the course of time. "Who knows?" you say. But are you right? Who searches deep to find the light, That glows so darkly in the night. Toward that point, I guide my flight. As fingers move to end mankind, Metallic teeth begin their grind. With sword of truth, I turn to fight, The satanic powers of the night. Is your faith before your mind? Know me. Am I the Doctor?
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Post by paulmorris7777 on May 9, 2016 15:20:12 GMT
One of the great things about good incidental music is, you don't hear it. It doesn't intrude on the visuals.
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Post by Deleted on May 9, 2016 15:53:35 GMT
That depends. John Williams scores for Star Wars, Jaws, Indiana Jones, Superman and more are as iconic as ANY on screen and they're as present as any of the visuals, they don't blend in to the background yet they are stunning and enhance the experience. You can't generalise and say you shouldn't notice musical cues or they're not working.
Clearly the music for the modern series wouldn't work at all on a Hartnell story, but the reverse is true too. Just as sci-fi drama has moved on in 5 years, so has musical taste and audience expectation.
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Post by paulmorris7777 on May 9, 2016 21:13:52 GMT
Cinema is loud, anyway. Would be very difficult to ignore it.
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Post by icecreamdf on May 9, 2016 22:36:17 GMT
TV can be loud too. It depends how high you have the volume turned up.
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Post by paulmorris7777 on May 9, 2016 23:09:28 GMT
Murray Golds music is louder than the dialogue.
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Post by Deleted on May 9, 2016 23:27:46 GMT
And there are occasions where loud on television does work. The original Thunderbirds soundtrack that Barry Gray composed can be considered iconic, particularly the "Fireflash Landing" theme, due to its roaring bombast.
Music -- much like women's hair -- in science fiction is often very telling of the era from whence it came, particularly when someone is trying to emulate it. Many of the soundtracks for the Audio Visuals stories by Jim Mortimore often sound like a cross between Vangelis and Tangerine Dream, firmly entrenched in that late 80s/early 90s zeitgeist. It's very lonely and stoic in its own way, trying to capture that sense of scale and scope you could possibly only get in a sweeping cinematic action-adventure of the time. You even get a pseudo-guitar riff on the opening to Enclave Irrelative (the Doctor becomes snared in an Eternal game) and a kick-ass electronica beat for the crescendo to Maenad ("Whom the Gods Destroy" through the filter of Frontier in Space and Blake's 7).
Flash forward to the new series in the twenty-first century, post-Fox and their attempt at a revival through the television film and there seems to have been a radical alteration in the interim towards that grandiloquence exemplified in the Eighth Doctor's sole appearance on television. The music isn't so much underscoring the narrative as it is driving it forward. After all these years, it almost feels like an attempt to go back to the Tom Baker era Dudley Simpson scores, uniting each disparate story under a singular sound.
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Post by Deleted on May 9, 2016 23:31:46 GMT
Murray Golds music is louder than the dialogue. Which is nothing to do with Murray. He doesn't work in the sound department. Don't blame him for the mix. May as well blame Peter Capaldi for the special effects.
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Post by Deleted on May 9, 2016 23:46:34 GMT
Murray Golds music is louder than the dialogue. Which is nothing to do with Murray. He doesn't work in the sound department. Don't blame him for the mix. May as well blame Peter Capaldi for the special effects. Blame music mixer Jake Jackson whose pedigree includes working on The Two Towers, Stardust and V for Vendetta, which frankly explains a lot.
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Post by Ela on May 11, 2016 5:02:25 GMT
I've been watching Trial of a Time Lord over the past week. And I realized it has some pretty good music.
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Post by lidar on May 12, 2016 7:56:41 GMT
City of Death, every time.
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Post by Deleted on May 12, 2016 8:22:05 GMT
I've been watching Trial of a Time Lord over the past week. And I realized it has some pretty good music. Mindwarp is my favourite. It's really unfortunate that there isn't an isolated soundtrack available because the atmosphere it conjures up for Thoros Beta is incredible. It has a sense of smug, superficial grandeur and dark cruelty to it that leaves you feeling speechless. It's airy too, almost aquatic which seems appropriate. That little drumbeat as Peri is led from her cell to become Crozier's latest experiment has the ring of a death knell to it. "It's not fair," is almost what it seems to say. "It's not fair and on Thoros Beta that's how we like it."
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Post by Deleted on May 12, 2016 9:54:04 GMT
I'm going for McCoy. I was never massively a fan of much of Duydley Simpson's stuff, although his music accompanied the show at a time when it was very popular. I like the stock music used during Hartnell and Troughton's time. But I loved the more electronic scors introduced during Series 18 - although much of the work by Roger Limb and occasionally Malcolm Hulke didn't hold a candle to stuff produced by Peter Howell and Paddy Kingsland.
So - although Keff McCulloch's later scores were pretty ropey (and have not dated well), I found the majority of McCoy's incidental music to be particularly wonderful.
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Post by Ela on May 12, 2016 12:54:57 GMT
I've been watching Trial of a Time Lord over the past week. And I realized it has some pretty good music. Mindwarp is my favourite. It's really unfortunate that there isn't an isolated soundtrack available because the atmosphere it conjures up for Thoros Beta is incredible. It has a sense of smug, superficial grandeur and dark cruelty to it that leaves you feeling speechless. It's airy too, almost aquatic which seems appropriate. That little drumbeat as Peri is led from her cell to become Crozier's latest experiment has the ring of a death knell to it. "It's not fair," is almost what it seems to say. "It's not fair and on Thoros Beta that's how we like it." I liked the music for The Mysterious Planet, too. Dramatic and, yes, mysterious during appropriate parts of the plot.
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Post by paulmorris7777 on May 12, 2016 16:40:28 GMT
I'm going for McCoy. I was never massively a fan of much of Duydley Simpson's stuff, although his music accompanied the show at a time when it was very popular. I like the stock music used during Hartnell and Troughton's time. But I loved the more electronic scors introduced during Series 18 - although much of the work by Roger Limb and occasionally Malcolm Hulke didn't hold a candle to stuff produced by Peter Howell and Paddy Kingsland. So - although Keff McCulloch's later scores were pretty ropey (and have not dated well), I found the majority of McCoy's incidental music to be particularly wonderful. Malcolm Clarke - but its an easy mistake.
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Post by Deleted on Jun 1, 2016 20:43:30 GMT
I'm going for McCoy. I was never massively a fan of much of Duydley Simpson's stuff, although his music accompanied the show at a time when it was very popular. I like the stock music used during Hartnell and Troughton's time. But I loved the more electronic scors introduced during Series 18 - although much of the work by Roger Limb and occasionally Malcolm Hulke didn't hold a candle to stuff produced by Peter Howell and Paddy Kingsland. So - although Keff McCulloch's later scores were pretty ropey (and have not dated well), I found the majority of McCoy's incidental music to be particularly wonderful. Actually, the more I think about it, the more Peter Howell's scores come to mind as my favourites from the eighties. The ethereal bedouin howl of a world on the brink of extinction in Planet of Fire, the pulse-pounding drumbeat of the Sontaran march from The Two Doctors, the calamitous whine of the collapsing church in The Awakening, the deep majesty of the Death Zone in The Five Doctors, they're all pretty amazing. He's only trumped by Jonathan Gibbs's score for Vengeance on Varos and the seething, skeletal soundtrack for Revelation of the Daleks by Roger Limb. Then there's that death rattle used for Sharaz Jek The Caves of Androzani... Dudley Simpson is a favourite of many I know, but the only score that really stands out for me is the one he did for The Seeds of Death. That growing score as the Ice Lord discovers Fewsham's deception with the video link sends chills down my spine even today. Mark Ayres did a sterling job once he got onto the show during the McCoy years, he's a big factor in making Ghost Light as atmospheric as it is and Dominic Glynn helped to give Survival its rather predatory edge. Appropriately, it's a score with teeth.
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Post by glutamodo on Jun 2, 2016 2:06:44 GMT
I didn't see this thread til just now... when I was a kid watching the 4th Doctor, the music never did anything for me, really. Until the change in 1980 that is... and then Davison and Colin's years... I thought they did pretty good and distinctive work with the synths of the time. So, If I could, I'd vote 1980-86. Since I can't, I voted for the 5th Doctor.
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Post by omega on Jun 2, 2016 10:41:36 GMT
Murry Gold's "I am The Doctor" is more thrilling and nuanced than most major film scores. It gets my vote and I hope somehow Big Finish can use it for Eleven's future adventures. It's a great theme for the Eleventh Doctor and he even got a different riff on it for Impossible Astronaut/Day of the Moon.
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