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 Posted:   May 13, 2013 - 12:10 AM   
 By:   Ludwig van   (Member)

Just to let you all know, I've started a new series of analyses on John Barry's James Bond scores. I'm starting with GOLDFINGER, will study four others in detail, then concluding with a summary of John Barry's techniques in these scores:

http://www.filmmusicnotes.com/john-barrys-james-bond-scores-part-1-of-6-goldfinger/

I think the score hangs together particularly well and much enjoyed looking into it. Great stuff.

 
 Posted:   May 13, 2013 - 1:12 AM   
 By:   Stephen Woolston   (Member)

Nice article.

There was a critique some years ago that berated the score for using the Goldfinger theme in scenes where Goldfinger was not present. That, to me, was the critics misunderstanding the role of the theme in the film. It's not purely a leitmotif for a character, it's a theme used to create the whole stage in which the story is being told.

You cover that in your notes, which is nice to see.

Looking forward to the next one!

 
 Posted:   May 13, 2013 - 2:46 AM   
 By:   BornOfAJackal   (Member)

"Golden words he will pour in your ear (Nice reference to HAMLET.)

But his lies can't disguise what you fear

For a Golden Girl knows when he's kissed her

It's the kiss of death

From Mis-ter Goldfinger

Pretty girl, beware of this heart of gold

This heart is cold

He loves only gold"

It's written from the viewpoint of an omniscient narrator imploring Pussy Galore that she's serving an evil master. The narrator knows what Goldfinger is, what he's done to Jill Masterson, and is warning Pussy she'll get the same fate. This is the same information Bond learns about Auric Goldfinger as Bond carries out his mission before meeting Pussy. Nice little narrative miniature from Messrs. Bricusse and Newley. I assume they wrote the lyrics to conform to John Barry's previously written music?

 
 
 Posted:   May 13, 2013 - 8:53 AM   
 By:   Ludwig van   (Member)

Nice article.

There was a critique some years ago that berated the score for using the Goldfinger theme in scenes where Goldfinger was not present. That, to me, was the critics misunderstanding the role of the theme in the film. It's not purely a leitmotif for a character, it's a theme used to create the whole stage in which the story is being told.

You cover that in your notes, which is nice to see.


I can see how that kind of misunderstanding could happen. But to me the big argument against that criticism is that the score just works so well, largely because Barry varies the theme to match the mood of the scene. "Oddjob's Pressing Engagement" is a great example. It's given more punch than the song with added percussion and the melody blasting out in the trumpets - perfect for a car chase. One could always try to interpret the placement of the theme in terms of who or what it represents, but I agree it's the larger stage that matters here, not the individual details.

 
 
 Posted:   May 13, 2013 - 9:08 AM   
 By:   Alex Klein   (Member)

Nice analysis, although I must say I missed your usual written score samples in this article. There is great material to be explored in Barry's compositional methods.
This reminds me, a detailed study of Barry's melodic and harmonic procedures has yet to happen.

Alex

 
 
 Posted:   May 13, 2013 - 9:19 AM   
 By:   Ludwig van   (Member)

Nice analysis, although I must say I missed your usual written score samples in this article. There is great material to be explored in Barry's compositional methods.
This reminds me, a detailed study of Barry's melodic and harmonic procedures has yet to happen.

Alex


Thanks Alex. I'll add the score examples in today. It was just very late finishing last night...

 
 Posted:   May 13, 2013 - 9:55 AM   
 By:   Stephen Woolston   (Member)

Alex,

Do you have this?

http://www.amazon.co.uk/Barrys-%2522Goldfinger%2522-Focus-Rhinegold-Educational/dp/1906178100/ref=sr_1_1?s=books&ie=UTF8&qid=1368464103&sr=1-1&keywords=goldfinger+john+barry

It's only a short book but explores the score with music examples, orchestration, etc.

 
 
 Posted:   May 13, 2013 - 10:44 AM   
 By:   Ludwig van   (Member)

I don't have this book (thanks Stephen - a must have), but I've just added score examples to the post. Since I don't have the score either, they're done by ear, so the time signatures may not match the actual score, but the notes do. Cheers.

 
 Posted:   May 13, 2013 - 2:22 PM   
 By:   Mr. Marshall   (Member)

Nice article.

There was a critique some years ago that berated the score for using the Goldfinger theme in scenes where Goldfinger was not present. That, to me, was the critics misunderstanding the role of the theme in the film. It's not purely a leitmotif for a character, it's a theme used to create the whole stage in which the story is being told.
!


published in an ACADEMIC journal, naturally
smile
bruce

ps nuthin' personal, Thor wink

 
 Posted:   May 14, 2013 - 2:26 PM   
 By:   Grecchus   (Member)

Excellent. With five more to go it will be interesting to compare Goldfinger, through to Diamonds Are Forever and culminating with The Living Daylights. The 'symmetric differences' between them, despite the regularity of the Bond sound, will be particularly satisfying to behold.

 
 Posted:   May 14, 2013 - 2:36 PM   
 By:   Mr. Marshall   (Member)

Just to let you all know, I've started a new series of analyses on John Barry's James Bond scores. I'm starting with GOLDFINGER, will study four others in detail, then concluding with a summary of John Barry's techniques in these scores:

http://www.filmmusicnotes.com/john-barrys-james-bond-scores-part-1-of-6-goldfinger/

I think the score hangs together particularly well and much enjoyed looking into it. Great stuff.


very nice!
did you notate the score by ear?
bruce

 
 
 Posted:   May 14, 2013 - 3:58 PM   
 By:   Ludwig van   (Member)


very nice!
did you notate the score by ear?
bruce


Thanks, Bruce. Yes, I did the score excerpts by ear. But with the first three notes of the Goldfinger song (set to that word), I noticed in Jeff Smith's book (which has the same short snippet) that it was notated unusually with the tie rather than with a dotted note, so I stole that bit, assuming that that's how Barry notated it.

The chord Barry used for Oddjob I'm starting to notice all over the place in his Bond scores. It seems it was a favorite with him.

 
 
 Posted:   May 16, 2013 - 9:41 AM   
 By:   Dr Lenera   (Member)

A good analysis and read!

 
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