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Posted: |
Sep 5, 2011 - 4:39 AM
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By: |
Francis
(Member)
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I don't know about the meter, but as I'm listening to it, I'm again struck by how 'slow' this climactic cue is. It's a great composition, I like the shifts (1:54, 2:26, 3:18), but like a lot of the action Goldsmith composed for Insurrection, the rhythms feel very drawn out. 'First Contact' also had slow pacing for the zombie borgs, but when the action came in, it took it up a notch. Insurrection is very lazy in that regard, for instance the tempo at which that 'wet' synth sound repeats in the background at 3:18 is really a minimum. I don't know if that's a result of a less menacing villain or tone, but it's especially noticeable in this climactic cue.
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Posted: |
Sep 5, 2011 - 5:59 PM
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By: |
Wedge
(Member)
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I suspected that it might be a combination... regarding the stresses: I tried taking them into account. But I failed, guess I´m not "Goldsmith-worthy" 
Try starting at the very beginning of the piece. Listen to the first two notes ONLY, and imagine that each note is comprised of three beats. I've written it out below, with the stressed beat at the start of each note given in ALL-CAPS:
ONE two three FOUR five six
That's two notes comprising a 6/8 measure right there. Now, for the next two notes:
ONE two three FOUR five
That's a 5/8 measure. So instead of a "six" beat at the end, we go directly into the first, stressed beat of the next 6/8 measure.
Put together, the first four bars will go like this:
ONE two three FOUR five six | ONE two three FOUR five
ONE two three FOUR five six | ONE two three (four five)
As you can see, the "four five" of bar four is silent, adding a little variety to the rhythm. So in four bars of alternating 6/8 and 5/8 measures, we have seven stressed notes. That four-bar pattern repeats, which takes us through the first 19 seconds. At that point, the orchestra modulates up a half-step, and Goldsmith begins to weave in the melody ... but the underlying rhythm remains consistent.
Hope that helps you get your head around it! 
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After looking at this initial ending, one of the posters mentioned that it was changed at the last minute, and that the album version reflects this original ending, so I synched up what may have occurred with both the scene and score. The first video starts at 3:00 and the second at 1:29, in case the url timers don't work here.
SCORE:
https://youtu.be/oqA9qnk4K1g?t=3m
SCENE (make sure to mute this before playing):
https://youtu.be/ZHJ7opsQnQo?t=1m29s
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I tend to agree with Wedge's original (2011) conclusion that it's 6/8 – 5/8; however, it is possible this pattern is 3/8 – 3/8 – 5/8. 11/8 is unlikely for several salient reasons:
Physical Space on Goldsmith's Sketch Pad—He used a modified Judy Green Music P-154 sketch pad which has measures that are only 45mm wide (1.75”). Even with his pinpoint writing style, I'm sure he didn't want to write all that intricate musical detail in that small space—or waste time making any note-by-note changes. Yikes!
Ease of Reading for a Fast and Accurate Performance—this is always a crucial consideration. Mixed meters notwithstanding, Marcato is correct that ease of reading is important on the scoring stage. Time=Money.
Another terrific score on my “too look at list!”
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Or does it alternate between 2/4 and 3/4? For years now I´m going mad when I try to count. I don´t have technical music knowledge so I would be very happy for answers from people who have.
