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Monday Notes

Mo Better Blues, a soundtrack to understand the blues

[Monday notes no. 159] Mo Better Blues is the title track of the soundtrack for the film of the same name directed by Spike Lee, who commissioned the music to his father Bill Lee. Mo Better Blues is has a funky feel but in many ways falls in the tradition of the more archaic blues.…

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Monday Notes

Deborah’s Theme by Ennio Morricone. Analysis of a masterpiece

[Monday Notes no. 158] Deborah’s Theme is the main piece written by Ennio Morricone for the soundtrack of Once Upon a Time in America, one of Sergio Leone’s most important films. I have tried to analyse this masterpiece in film music.

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Monday Notes

Schindler’s List by John Williams, all the secrets of a great soundtrack

[Monday Note 157] The soundtrack of the film Schindler’s List has been created by one of the greatest masters of film music, John Williams. The American composer has written music for all kinds of films, from the science fiction of Star Wars and E.T. to the adventures of Indiana Jones. In this case, his music…

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Monday Notes

Piero Umiliani, Gassmann blues. Jazz meets Italian comedy

[Monday Notes no. 153] For the soundtrack of the film I soliti ignoti Mario Monicelli chose a young Florentine musician named Piero Umiliani. Monicelli wanted a soundtrack that was completely jazzy, a very unusual choice for the time. Let us analyse the track entitled Gassmann Blues.

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Monday Notes

Piero Piccioni and Prof. Dr. Guido Tersilli

[Monday Notes no. 151] Piero Piccioni was a great film music composer, he wrote dozens of soundtracks working both with Francesco Rosi in the more demanding cinema and with Alberto Sordi in the great Italian comedy. We analyse his Samba Fortuna from the film Il Prof. Dr Guido Tersilli primario della clinica Villa Celeste convenzionato…

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Monday Notes

Profondo rosso, how to create a horror soundtrack

[Monday Note No. 145] Profondo rosso is a famous horror film by Dario Argento, the soundtrack played by the Goblins is perhaps even more famous. Let us try to analyse it to find out how the ideal soundtrack for a horror film is composed.

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Monday Notes

Barbra Streisand, The Way We Were. How to write a good song

[Monday’s Notes No. 139] The Way We Were could be an ordinary song, instead it becomes something special thanks to a series of refinements in the way it was composed, arranged and sung. Barbra Streisand’s performance is also particularly poignant because the singer starred in the film for which the song was written.

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Monday Notes

Compay Segundo, Chan Chan. Four chords and four towns

[Monday Note no. 137] Buena Vista Social Club is a documentary film shot by Wim Wenders in 1999. The film follows the album of the same name by two years and aims to promote the music of some aged Cuban musicians brought back to the public eye by guitarist Ry Cooder. Among them is guitarist…

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Monday Notes

Amanti, Ella FItzgerald sings Manuel De Sica’s A Place For Lovers

[Monday Notes no. 133] A Place For Lovers is a song written by Manuel De Sica as the soundtrack for the film Amanti directed in 1968 by his father Vittorio De Sica. This is not one of the great director’s masterpieces, while the music is definitely worth mentioning. I have therefore tried to analyse how…

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Monday Notes

Judy Garland sings Smile by Charlie Chaplin

[Monday Notes no. 126] Smile, the song written by Charlie Chaplin for his film Modern Times, is more difficult to sing than it may seem. The difficulty, however, is not technical, but in interpretation. Let us therefore see how Judy Garland overcame these difficulties, producing a truly memorable interpretation of Smile.

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