Teasing the Korean Posted February 24 Report Share Posted February 24 An effective but seldom-used device that made a big impression on me was the use of major thirds moving chromatically up and down beneath a melody. This results in some unsettling harmonic ambiguities, particular with regard to the augmented chords that are formed along the way. I am going to post three representative examples. Kenyon Hopkins uses this device more than anyone else I've encountered, across many of his albums and soundtracks. You can hear it in his version of “Spellbound” at the 10 second mark: Elmer Bernstein uses it in this track from the Staccato soundtrack album: And finally, Nino Rota uses it at the 0:33 mark in this track from La Dolce Vita: This sound brings to mind the eerie blueish glow of a B&W TV set late at night, with all the other lights off. Quote Link to comment Share on other sites More sharing options...
GA Russell Posted February 24 Report Share Posted February 24 Great finds, TTK! I am delighted to see that although the Staccato soundtrack is not on CD, it can be streamed by Amazon Prime members. https://www.amazon.com/music/player/albums/B0186SF5L6 Quote Link to comment Share on other sites More sharing options...
Teasing the Korean Posted February 25 Author Report Share Posted February 25 16 hours ago, GA Russell said: Great finds, TTK! I am delighted to see that although the Staccato soundtrack is not on CD, it can be streamed by Amazon Prime members. https://www.amazon.com/music/player/albums/B0186SF5L6 It is all available as a lossless download from Qobuz. Quote Link to comment Share on other sites More sharing options...
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