Back to the Future: "Clocktower Pt. 2” by Alan Silvestri (Score Reduction and Analysis)
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- Опубликовано: 1 окт 2024
- Back to the Future: "Clocktower Pt. 2” by Alan Silvestri (Score Reduction and Analysis)
A full score reduction of the clocktower scene from Back to the Future.
I own nothing.
Enjoy!
You’re doing an amazing job and it’s a shame you’ve got barely any views.
I look forward for your next score analysis, it helps me entering into composers’ mind and better witness their genius
Look at the complexity of that musical notation. That’s not a simple melody. Silvestri is a genius.
THANK YOU SO MUCH FOR THIS! One of my favorite film scores of all time!!
Mine too! It’s a genius score.
I wonder if the owner of the channel knows that I watch these videos everyday
He does now! :)
Somos dois!
+ Big Daddy Dave Hey, friend! Love your videos! This is the only channel on RUclips I allow notifications! You should do Christopher Young's Copycat!
This is my favorite track and master piece from Back to The Future score. Alan Silvestri a great composer.
the way he delays and delays and delays that secondary BTTF theme till the very end when everything is going to be ok...is just so brilliantly done!! good analysis!!
4:55
*When COVID-19 finally dies away...*
The man is an absolute genius.
I noticed how much the main theme plays in this video and part 1 and I kept wanting to hear that secondary theme next, but it occurred to me Silvestri could be holding back on it during the moments of tension. And sure enough at 4:55 it appears, now that the car is working and the clock tower is hooked up. Good work laying this out so clearly!
This kind of complexity is missing from almost all of today's action music scoring.
I agree. I think it's mostly because picture cutting is generally much faster and the width and breadth of what sound design is able to accomplish has widened considerably, but it's still a shame. Even if you hate Ready Player One, I think Silvestri still scores the hell out of it. Not quite up to the level of this or Roger Rabbit, but no slouch either.
@@lifewithoutfudge No, it's mostly due to the pervasiveness of the Hans Zimmer ostinato/minimalistic style of scoring. Since the mid 2000s, almost every action score composer has tried to sound like Zimmer. It's quick and easy and doesn't require much compositional skill or creativity.
dreamlandnightmare
This is true, but I think an extension of my earlier point. More minimal orchestration and short ostinatos are easier to overlay on top of quick cutting and thicker sound design because there’s less room in the “sound pie,” so to speak, for complex orchestral music to fit with everything else. While Hans Zimmer gets a lot of blame for popularizing this style-and rightly so-I think the development of film music in this direction was kind of inevitable in face of the other trends I mentioned earlier, whether it was Hans Zimmer or somebody else who did it first.
This is absolutely fantastic work, well done. IMO one of the very best cues written by Alan Silvestri - and your reduction and analysis really highlights the sheer level of craft that went into it. Keep it up!
The electric piano (synthesizer) wasn't mixed out of the final track - you hear it beginning at 1:18.
The one dislike is biff tannen
Such a great cue. Thanks for the breakdown of this track.
Wow David I think this is quite a challenge to analyze, and you did an amazing job!!! 👏👏👏
A bit of a nitpick, but on bar 125, the timpani and low brass rhythm is in triplets
Magnificent scoring, and great analysis!
Amazing cue!
Thank you, David. What tempo is this supposed to be performed at? Is it 160 BPM?
I -have always loved movie scores, but seeing the notes behind the music just blows my mind...like...how do composers just think of all these things and where to put each instrument when. Thank you so much for your efforts to show us this. This is such an amazing sequence in the film.
Amazing analysis. Thank you millions of times for such a great effort...
Really nice, as for the part 1.Would you be interested in making a Score Analysis for Prometheus: both "Life" and "A Planet" themes ??
Great work!
Can you make some kind of simple piano tutorial? I've been trying to learn this on piano
The thing that has always amazed me is that you can play the Back to the Future main theme on an infinite loop of modulation in different keys (can see echos of that in this part of the score at the end)
Bravo.
This rocks! Keep up the good work!
Quick Question for ya: @3:22 where it says Violins 1+2 are planing thirds in 16ths ... are those whole-noted chords played as triple stops on the violas?? I'm confused as to the notation there.
Thanks for the help
I'm a viola player myself and I think those whole-note tremolo chords (almost like trills) would have been divisi a 3: there is absolutely no way they could be played triple stopped, certainly not that high or at that tempo.
I love your videos! This is awesome! Very inspiring as well as a film composer myself!
Lots of Stravinsky in this, but around m. 96 until m. 102 the music strongly suggested Shostakovich 10, especially the brutal 2nd movement. All the upbeats and some of the harmonic language really put me in that soundscape near the end when the theme is in augmentation in the winds/brass and the strings are in diminution playing the same theme. Thanks so much for uploading this! I'd forgotten how amazing a score this was!
Sounds very New York to me with those jazz brass chords, almost John Williams Home alone ish.
@@TB1M1Wasn’t this score created BEFORE the film “Home Alone” was?
God, how I love this!
this is amazing
Why was Spielberg against hiring alan
Because Silvestri had written mostly electronic jingles for Chips, Doberman Gang and Romancing the Stone previously and had never had any classical training beyond Jazz training at that point in time, Spielberg was afraid that Alan Silvestri wouldn't be able to write a big orchestral score, when Steven was told that this music was by Silvestri, he couldn't believe it.
1:20
4:42