Soundtrack

I'd like to see Bach's "Prelude No. 1 in C major" (BWV 846) somewhere in there ... possible showing graceful starship maneuvers. Also, maybe an adaptation or something similar to Barber's "Adiago for Strings" to convey a sad, depressing moment.

Maybe I've watched too much YouTube, on the other hand ...

OR, here's another thought. Pink Floyd's "Set the controls for the heart of the sun" in that eastern trippy sound for a prelude for a battle, and when all hell breaks loose, change the beat and tempo to a death metal version.

Sorry guys n' gals.

It is absolutely essential that Evergreen commission an original orchestral work to be the background music for the Battle of Blackbird...

...further, it is necessary that it be titled 'Hammerwell's 7th'.

(Thanks to roseandheather for the correction.)

dreamrider

dreamrider wrote:Sorry guys n' gals.

It is absolutely essential that Evergreen commission an original orchestral work to be the background music for the Battle of Blackbird...

...further, it is necessary that it be titled 'Hammerwell's 10th'.

dreamrider

Hammerwell's Seventh, actually - "Salute to Spring".



*retreats from nitpicking*

But seriously this is basically a demand for a composer like Zimmer or Williams or McCreary to turn up and score something awesome.

roseandheather wrote:

dreamrider wrote:Sorry guys n' gals.

It is absolutely essential that Evergreen commission an original orchestral work to be the background music for the Battle of Blackbird...

...further, it is necessary that it be titled 'Hammerwell's 10th'.

dreamrider

Hammerwell's Seventh, actually - "Salute to Spring".



*retreats from nitpicking*

But seriously this is basically a demand for a composer like Zimmer or Williams or McCreary to turn up and score something awesome.

Something like -

"Dumm dum da-da-da dummm dum, Da-da-da-dum"...only not. <grin>

dreamrider

I have always thought of the 7th as a mix of Beathovens with his Fur Elise and the OPverture to 1812. Something light, Elise, punctuated with the 1812 overture.

Interesting. I always picture it as Beethoven's 6th, the Pastoral Symphony, particularly the transition to the storm segment.

Commodore Oakius wrote:I have always thought of the 7th as a mix of Beathovens with his Fur Elise and the OPverture to 1812. Something light, Elise, punctuated with the 1812 overture.

Greentea wrote:Interesting. I always picture it as Beethoven's 6th, the Pastoral Symphony, particularly the transition to the storm segment.

Commodore Oakius wrote:I have always thought of the 7th as a mix of Beathovens with his Fur Elise and the OPverture to 1812. Something light, Elise, punctuated with the 1812 overture.

I just listened to the 6th, that part, not the whole thing. At times I agree it matches.
I think the main difference in my thoughts were the oveture as the base and the Fur Elise, calm and tranquil, as all the rest. The eye of the storm is you will. Calm and relively peaceful, as a slaute to spring would be, but with a hammering of base, the need of which I base off my memory of the text saying to the effect, the strains of Hammerwells ode to spring hammering, but I could be way off on that, in which case your comparasin would be better than mine

Well, not so much hammered as having a soaring finale.

The cheat sheet for the composer is however rather short:

tHotQ chapter 34: "“Hammerwell’s Seventh?” Metzinger shook herself. “Yes, Ma’am.”
Honor had always loved Hammerwell. He, too, had come from Sphinx, and the cold, majestic beauty of her home world was at the heart of everything he’d ever written. Now she leaned back in her chair as the swirling strains of Manticore’s greatest composer’s masterwork spilled from the com, and people looked at one another, first in surprise and then in pleasure, as the voices of strings and woodwinds flowed over them.
HMS Fearless sped towards her foe, and the haunting loveliness of Hammerwell’s Salute to Spring went with her."
&
tHotQ chapter 34: "The soaring finale of Salute to Spring swept to its climax and faded away, and Honor inhaled deeply."

Commodore Oakius wrote:

Greentea wrote:Interesting. I always picture it as Beethoven's 6th, the Pastoral Symphony, particularly the transition to the storm segment.

Commodore Oakius wrote:I have always thought of the 7th as a mix of Beathovens with his Fur Elise and the OPverture to 1812. Something light, Elise, punctuated with the 1812 overture.

I just listened to the 6th, that part, not the whole thing. At times I agree it matches.
I think the main difference in my thoughts were the oveture as the base and the Fur Elise, calm and tranquil, as all the rest. The eye of the storm is you will. Calm and relively peaceful, as a slaute to spring would be, but with a hammering of base, the need of which I base off my memory of the text saying to the effect, the strains of Hammerwells ode to spring hammering, but I could be way off on that, in which case your comparasin would be better than mine

hvb wrote:Well, not so much hammered as having a soaring finale.

The cheat sheet for the composer is however rather short:

tHotQ chapter 34: "“Hammerwell’s Seventh?” Metzinger shook herself. “Yes, Ma’am.”
Honor had always loved Hammerwell. He, too, had come from Sphinx, and the cold, majestic beauty of her home world was at the heart of everything he’d ever written. Now she leaned back in her chair as the swirling strains of Manticore’s greatest composer’s masterwork spilled from the com, and people looked at one another, first in surprise and then in pleasure, as the voices of strings and woodwinds flowed over them.
HMS Fearless sped towards her foe, and the haunting loveliness of Hammerwell’s Salute to Spring went with her."
&
tHotQ chapter 34: "The soaring finale of Salute to Spring swept to its climax and faded away, and Honor inhaled deeply."

Thanks for the reference. 1812 probably wouldn't fit then