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Date Posted: 05:27:59 03/10/06 Fri
Author: Rick
Subject: Re: Flash Gordon in a New Way !
In reply to: Prince Barin 's message, "Flash Gordon in a New Way !" on 14:38:51 03/08/06 Wed


Hi Barin,

Thank you. It was no easy task, but a fascinating one for me. My mentors, Richard Bush and Tom Aldridge deserve the credit of researching the music over the years and helping me. Tracking the music over 8 months was a great deal of work, but so rewarding in its completion.

I am sure many will come here once the site is published, and they'll have a new music narrative to read that is a totally unique creation I am in the process of writing.

Yes, it does seem the music was "made for Flash and Buck", and the film editors deserve all the credit for their hard work in tracking it all over, for a custom-made film score from Universal's films, both silent and talkies in that era.

I remember one time I went to see Star Wars in 1978 and snuck in a portable audio cassette recorder so I could bring the film's soundtrack home.



Rick

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[> [> Re: Flash Gordon in a New Way ! -- Rick, 07:06:14 03/10/06 Fri [1]



Hi Barin,

In tracking the music in the feature films and space serials, you must know the cue titles and how to match them to every scene they are in. This is something that you must learn for yourself, as I did. It really isn't hard. In fact it's all based on common sense and logic. You must also know how to study the music compositions and how they were written for the films.

Example; the cue from Werewolf of London ( First Murder ) was originally composed by Hajos, to underscore the werewolf as he murders his first victim. In Flash, it's used to underscore scenes in Ming's palace and also is the first cue that establishes King Kala in chapter 3 of the 1936 film.

Cues are written for mood and action; chase, happy, sad, tension, fights, storms, march, etc. In some cases, the cue titles from the feature films do not match the scenes in FG, so it's all done by logic and knowing how they suit a scene.


Rick


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