![]() ![]() When this song was released on it was originally published in the key of. Be careful to transpose first then print (or save as PDF). If your desired notes are transposable, you will be able to transpose them after purchase. If you selected -1 Semitone for score originally in C, transposition into B would be made. This means if the composers started the song in original key of the score is C, 1 Semitone means transposition into C#. If it is completely white simply click on it and the following options will appear: Original, 1 Semitione, 2 Semitnoes, 3 Semitones, -1 Semitone, -2 Semitones, -3 Semitones. You can do this by checking the bottom of the viewer where a "notes" icon is presented. Most of our scores are traponsosable, but not all of them so we strongly advise that you check this prior to making your online purchase. If not, the notes icon will remain grayed. If transposition is available, then various semitones transposition options will appear. In order to transpose click the "notes" icon at the bottom of the viewer. #YOUR LOVE MORRICONE PDF DOWNLOAD#After you complete your order, you will receive an order confirmation e-mail where a download link will be presented for you to obtain the notes. Notably, the melody and harmony draw on what has already occurred, though in varied form.This week we are giving away Michael Buble 'It's a Wonderful Day' score completely free. Thus, the deeply emotional quality of the harmony is allowed to continue throughout the eight bars of this sections theme. Hence Morricone tends to employ it in scenes that expose a characters tender side, as in Ness and His Family from The Untouchables and the flashback scenes (main theme) from Duck, You Sucker (A Fistful of Dynamite). Typically, this progression fills in one or both of those thirds with stepwise motion to create an even smoother stepwise line in the bass, as there is here. This progression is essentially a form of I-IV-I, or what is called a plagal progression, but with the insertion of the vi chord, which creates a line of descending thirds in the bass.įor this reason, I call it the plagal thirds progression, and it is one that appears in a great many of Morricones themes. In Jills theme, a turn enters immediately after the opening sixth and at two other locations in its brief eight-bar length. In addition, this figure may appear in inverted form or may omit its first or last note. In the case of Jills theme, the interval of the sixth is especially prominent as it begins the A theme and is stated four times within its eight bars. In some cases I have augmented the result with timbre, in others with the pursuit of a theme made of intervals. Its simplicity may perhaps evoke Jills desire to live a simple life out west with her husband Brett McBain after having moved from New Orleans.Īs an entirely human instrument, the voice lends the music a poignant quality that fits well with the tragic circumstances that Jill finds herself in.Īnd its wordlessness in this case makes its impact even more direct as it is treated as a purely musical sound rather than a vehicle for a text.įor this reason, especially in the first films of Leone but also on many occasions afterward, I have attempted to distinguish it, to subtract it from its conventional function. The melody here is constructed almost entirely out of one of Morricones favorite melodic devices: the anticipation, which states a note twice successively, first on a weak beat then on a strong beat. Morricone immediately reveals his penchant for unusual scorings as he sets the first statement for harpsichord and vibraphone accompanied by the cello. ![]() I begin with Jills theme, or what is generally referred to as the films main theme. This and the following two posts will provide film music analyses that examine these devices in his themes for Once Upon a Time in the West, another Leone western that followed soon after the dollars trilogy. Perhaps I am deceiving myself by thinking that while following the theme, people also assimilate and appreciate the instrumental solutions. If you take away the melody from all my pieces of this or other types, the piece still will remain on its own feet. Indeed, in a translated volume of lectures by Morricone and musicologist Sergio Miceli, Morricone remarks that. ![]()
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