While Morricone’s colorful orchestrations are obvious in his scores, his frequent melodic and harmonic devices are less so. Perhaps I am deceiving myself by thinking that while following the theme, people also assimilate and appreciate the instrumental solutions.” But the theme helps the director and serves the public. … If you take away the melody from all my pieces of this or other types, the piece still will remain … on its own feet. “I have always believed that the inventive use of tone color is one of a film composer’s most important means of expression.”Īnd in discussing the main title cues for the “dollars” films, he notes that he prioritizes tone color even above melody: Indeed, in a translated volume of lectures by Morricone and musicologist Sergio Miceli, Morricone remarks that ![]() ![]() What tends to separate one from the next is his unique orchestrations. ![]() And yet, it is not as if all of his scores sound the same. But in his film themes, Morricone tends to draw upon a relatively limited palette for melody and harmony, hence giving his music a very recognizable sound. Ennio Morricone has one of the most distinctive sounds in all of film music, a highly unusual trait in a business where the composer is generally a musical chameleon, writing in different styles to suit different films.
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