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i don't think at Brad Fiedel even used sheet, i just think that he created music from scratch. but i really don't know for sure
oh, yes, that could even be more likely..
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Posted: |
May 12, 2013 - 10:21 AM
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By: |
Ludwig van
(Member)
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i don't think at Brad Fiedel even used sheet, i just think that he created music from scratch. but i really don't know for sure
I think Marcato's right. There probably wasn't any need for a written score, so one might not have ever existed.
However, the last bar of the piano sheet Konstantinos refers to may not have the "theme" per se, but it does have the ostinato rhythm that plays under the theme (bottom note in the top staff). Notice that it's in 13/8. I've also seen a transcription in 13/16. No matter how you slice it, the bar is always going to contain 13 of the fastest note. For that reason, a time signature of 6/8 or 3/4 simply won't work - it will be one sixteenth too short. In the dissertation Konstanintos refers to, the author has to tie the last note over to the next bar to complete the ostinato. So even there, the ostinato has 13 beats and doesn't fit in the 6/8 bar.
So my two cents are: the theme probably wasn't ever notated, but if you want to transcribe it, you would have to use bars of 13 of the fastest note value you choose.
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Posted: |
May 12, 2013 - 1:12 PM
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By: |
Matt S.
(Member)
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i don't think at Brad Fiedel even used sheet, i just think that he created music from scratch. but i really don't know for sure
I think Marcato's right. There probably wasn't any need for a written score, so one might not have ever existed.
However, the last bar of the piano sheet Konstantinos refers to may not have the "theme" per se, but it does have the ostinato rhythm that plays under the theme (bottom note in the top staff). Notice that it's in 13/8. I've also seen a transcription in 13/16. No matter how you slice it, the bar is always going to contain 13 of the fastest note. For that reason, a time signature of 6/8 or 3/4 simply won't work - it will be one sixteenth too short. In the dissertation Konstanintos refers to, the author has to tie the last note over to the next bar to complete the ostinato. So even there, the ostinato has 13 beats and doesn't fit in the 6/8 bar.
So my two cents are: the theme probably wasn't ever notated, but if you want to transcribe it, you would have to use bars of 13 of the fastest note value you choose.
13 beats is correct...after listening to it I realize I was one note short in the "first" bar...so if I were to write it out for performance, I would use alternating measures of 7/8 (2+2+3) and 3/4.
The OP was referring to the performance by the Cincinnati Pops, so the music must have been notated for them, whether Fiedel originally wrote it out or not.
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Posted: |
May 12, 2013 - 6:40 PM
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By: |
tgreiving
(Member)
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Here's a little anecdote from a career retrospective interview with Fiedel that will be in the May issue of FSMO:
Fiedel: One day I’m working in my studio, this was probably sometime in the ’90s. I get this call and there’s a woman on the phone saying, “I have Henry Mancini for you. Is this Mr. Fiedel?” I really thought it was a friend of mine joking or something. So there’s Hank Mancini, and he says, “RCA’s asked me to do a big band album of film themes, and I think your Terminator theme cooks. I have this idea and I want to do it with a big band.” I was like, “Woah—that’s fine!” He asked me for the music...Now, none of the Terminator scores were written anywhere. They were all done in my studio, top to bottom, and very free finding stuff, and I didn’t take the time to write anything down. That would have slowed me up.
So I’m sitting there, and I have to bring in this friend of mine who was a musicologist. We’re listening—this is the original Terminator, because on Terminator 2 there was different technology, so it fell more into a musical pocket that was easier to define because we thought we might go to orchestra on that score...it ended up we didn’t have time, and ultimately I’m not sorry, but I was preparing to have to have beats that could be translated. But the original Terminator was so hurky jerky—I mean, you’d have to see me in the studio trying to get a take: taking two or three different things and saying, “Oh shit, that one’s getting behind, and that’s not the tempo on this…”
So we’re listening to it and saying, “What tempo is this in?” (talking about the main theme). I don’t even know what we came up with, but if you really get scientific about it it’s a very bizarre time signature, because the loop that was driving it is so irregular. (I could see Hank was hearing it as like a conga line.) But when I hit the off button on the Prophet 10 when I was recording that sequence that creates the loop, I was a little off...so it was a little short. It was constantly undulating. So I think we came into the fact that it was 13/8 or literally like 17/32…it was this crazy time signature. In the end we just wrote it as 6/8, and said it sounds a little different than on the tape.
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