Who is the best Star Trek composer?

[EnriqueH]

No, he doesn't.

He's just being a troll.

I absolutely think it sucks. Horner and Eidelman both blew it away. So, when someone does not see things the way you see them, I suppose that makes them a "troll" huh?

I don't think its the different opinion that turns people off...it's the way you went about pushing it...especially when you know it's an unpopular opinion.

Nothing wrong with having your own (admittedly contrarian) opinion, but do it with respect and some humility....and that will generally go over better I bet.

I agree with this.

Fonzob, I like your posts overall, (except when you ruined Trip's fate ), but your posts do seem to have a...how should I put it?...deliberately controversial tone to them.

Anyway, I did vote for Goldsmith earlier, but I would like to expand on my answer a bit:

TMP score is my favorite, but TFF is nowhere near as cool for me. I *like* it, a lot, but I don't love it the way I love TMP. For one, I don't like that whiney sound effect during the Klingon theme.

So I would rank the soundtracks like this:

TMP
TSFS
TWOK
TVH (it's in 4th place, but I love it. Cheerful. These 4 soundtracks are practically tied.)


TFF (I'm not a big fan of the changes to the Klingon theme, but it is a very good soundtrack)
TUC (Too sentimental in parts, but I love the Klingon themes. Particularly the Rura Penthe track.)

 

[martok2112]

TMP score is my favorite, but TFF is nowhere near as cool for me. I *like* it, a lot, but I don't love it the way I love TMP. For one, I don't like that whiney sound effect during the Klingon theme.

Indeed. I never liked that either. It pretty much dilutes the regal, warrior nature of the Klingon theme, along with the faster tempo. It almost makes the theme....comedic. I prefer the slower, more majestic original TMP version of the Klingon theme. (I also liked Horner's theme for the Klingons).

I didn't care for the version of the Klingon theme Goldsmith used in First Contact either.

 

[CorporalClegg]

Goldsmith, Horner, Giacchino. The other barely merit a mention.

 

[martok2112]

Hey, CorporalClegg, could you please change your signature?

....it's kinda interfering with my plan to live forever. .

 

[eyeresist]

Shore, but I love him, period. Goldsmith speaks the Language, but Shore knows the syntax!

Since Howard Shore hasn't scored any Trek movies, I assume you meant someone else?

 

[fonzob1]

I absolutely think it sucks. Horner and Eidelman both blew it away. So, when someone does not see things the way you see them, I suppose that makes them a "troll" huh?

I don't think its the different opinion that turns people off...it's the way you went about pushing it...especially when you know it's an unpopular opinion.

Nothing wrong with having your own (admittedly contrarian) opinion, but do it with respect and some humility....and that will generally go over better I bet.

The thing is, one should be able to argue WHY one does or doesn't find meritorious a particular aspect of a Star Trek episode or movie, otherwise why come here? This is a place for reasoned discussion, so give some reasons: Why does Goldsmith's TMP score suck? Do you not like the overall (i.e., antecedent/consequent) structure of the title theme, for example? Or does it sound too martial? Or do you not like particular intervals used, or the unusual emphasis on V chords? As for the rest of the score, does the occasional Blaster Beam annoy you perhaps? What about the long stretch of slow up-and-down arpeggios in one of the Vger-interior segments - too minimalist for you? Does the stretching out (metrically) of the main theme during Kirk's exterior tour of the ship seem unreasonably tiresome after a short while?

State your case.

I already did. The main theme overshadows everything else and it sounds too basic to me. It's like a really bad Superhero theme.

I am welcome to express my opinion in whatever context I like.

 

[eyeresist]

I am welcome to express my opinion in whatever context I like.

Welcome by whom?

 

[Kilana2]

I voted for Jerry Goldsmith. Even his work for "Air Force One" sounds Star Trek-like.

 

[enterprisecvn65]

It would be much easier to vote for the least good composer, though I think none of them are terrible. Sad to see McCarthy has no votes - problem is, I rank him as good as Horner, but he only wrote one film.

I don't know if I'd say he is as good as Horner, but I agree the film score for Generations was extremely good and the main theme is great. Unfortunately it was about the only good thing that came out of Generations so I think it gets shafted for being associated with such a mess of a film.

 

[gottacook]

I don't think its the different opinion that turns people off...it's the way you went about pushing it...especially when you know it's an unpopular opinion.

Nothing wrong with having your own (admittedly contrarian) opinion, but do it with respect and some humility....and that will generally go over better I bet.

The thing is, one should be able to argue WHY one does or doesn't find meritorious a particular aspect of a Star Trek episode or movie, otherwise why come here? This is a place for reasoned discussion, so give some reasons: Why does Goldsmith's TMP score suck? Do you not like the overall (i.e., antecedent/consequent) structure of the title theme, for example? Or does it sound too martial? Or do you not like particular intervals used, or the unusual emphasis on V chords? As for the rest of the score, does the occasional Blaster Beam annoy you perhaps? What about the long stretch of slow up-and-down arpeggios in one of the Vger-interior segments - too minimalist for you? Does the stretching out (metrically) of the main theme during Kirk's exterior tour of the ship seem unreasonably tiresome after a short while?

State your case.

I already did. The main theme overshadows everything else and it sounds too basic to me. It's like a really bad Superhero theme.

You know what? I actually see your point. The first (or earliest, anyway) movie superhero theme I could think of was the one by John Williams for Superman in 1978. And there really is something "generically" superhero-ish about both themes. They're metrically both 12/8, and they both use a big, perhaps superhero-ish, upward leap of a major seventh (i.e., the closest you can get to a full octave leap) early in the melody: the 5th and 6th notes of the theme in Goldsmith's case, a little later and more prominently (da-da-da-DAAAAAAAA-dah at start of measure 5) for Williams. I'm sure there are other similarities.

 

[Maurice]

I happen to think the main title for Superman is terrific.

 

[arch101]

I'm really fond of the more incidental portions on the TMP score which really set the mood without being a big "tah da dah" thing like the major themes. I particularly like the use of the motifs and orchestrations in this track (albeit this is an alternate take with an overdone blaster beam intro).

[yt]https://www.youtube.com/watch?v=w8qlOsdNEUI[/yt]​

I was listening to The Force Field today from the complete score on speakers (I find I can hear a wider tonal range with speakers vs headphones). The last minute of the piece is just beautifully complex. You pick up that piano work in the background and the mashing together of the strings with the Blaster Beam. WOW. There is nothing like this in any other Trek score over all the other films. Pure genius.

 

[fonzob1]

I am welcome to express my opinion in whatever context I like.

Welcome by whom?

By the first amendment. By me. By anyone who is not a third world dictator... lol

 

[eyeresist]

^ I think the word you mean to use is "entitled".

 

[Melakon]

I am welcome to express my opinion in whatever context I like.

Welcome by whom?

By the first amendment. By me. By anyone who is not a third world dictator... lol

You're on a privately owned bulletin board. Whatever first amendment rights you're claiming aren't guaranteed here.

Goldsmith.

 

[fonzob1]

Welcome by whom?

By the first amendment. By me. By anyone who is not a third world dictator... lol

You're on a privately owned bulletin board. Whatever first amendment rights you're claiming aren't guaranteed here.

Goldsmith.

I have not been warned by the moderators about having unpopular opinions yet. I don't think that violates their rules.

 

[Ssosmcin]

Annnnyway, I gotta go with Horner. Yes, Goldsmith is my pick for best composer of the bunch in general, and my favorite composer overall, but I go absolutely mental over the back to back joygasms of TWOK and TSFS. Put together, they form on long, beautiful piece of work. They touch my heart in ways the V'Ger blaster beam just doesn't. While I consider the score for TMP to be genius, as a whole, I don't find it as enjoyable a listen from start to finish. Not Goldsmith's fault, since the movie completely changes tone and pacing as soon as the conference with Spock ends. The firat half of the score, up to Meet V'Ger is absolutely wonderful. Had the film sustained that feel and Goldsmith provided a score in that vein, it would win for me easily. But the long travel cues, while lovely, tend to drag. The next few don't do much for me and until A New Start kicks in, I'm not enjoying the ride as much.

The Horner scores capture the jaunty and emotional spirit of Star Trek perfectly and are a joy to listen to from start to finish, back to back.

The other Goldsmith scores, while good to excellent, just don't capture that. I wish Goldsmith had better films to work with....

McCarthy's Generations score is lovely and one of my favorites. Another underrated score that benefits greatly in the complete album. It's my 3rd favorite score (I consider Treks 2 and 3 to be one long score). Trek 6 - meh. Not feeling it, but I loved the end titles and the trailer. TVH is just awful. People bag on Horner for his reuses, but Rosanmann's score is filled with self references. And he got an Academy Award nomination for this one? Yikes.

Giacchino's scores are really fun as well. I like a lot of the 2009 score, but I - LOVE - Into Darkness. He really delivered. Unrelated, Giacchino's score to Jupiter Ascending is a masterwork. Totally recommended.

 

[Tulin]

I'm loving all the discussion(especially the technical side, of which I know nothing)of the TMP soundtrack.

I don't know a diminished third from a fretting H but it's interesting to hear that a score that sounds THAT good is also technically interesting, as well!

 

[Iamnotspock]

The thing is, one should be able to argue WHY one does or doesn't find meritorious a particular aspect of a Star Trek episode or movie, otherwise why come here? This is a place for reasoned discussion, so give some reasons: Why does Goldsmith's TMP score suck? Do you not like the overall (i.e., antecedent/consequent) structure of the title theme, for example? Or does it sound too martial? Or do you not like particular intervals used, or the unusual emphasis on V chords? As for the rest of the score, does the occasional Blaster Beam annoy you perhaps? What about the long stretch of slow up-and-down arpeggios in one of the Vger-interior segments - too minimalist for you? Does the stretching out (metrically) of the main theme during Kirk's exterior tour of the ship seem unreasonably tiresome after a short while?

State your case.

I already did. The main theme overshadows everything else and it sounds too basic to me. It's like a really bad Superhero theme.

You know what? I actually see your point. The first (or earliest, anyway) movie superhero theme I could think of was the one by John Williams for Superman in 1978. And there really is something "generically" superhero-ish about both themes. They're metrically both 12/8, and they both use a big, perhaps superhero-ish, upward leap of a major seventh (i.e., the closest you can get to a full octave leap) early in the melody: the 5th and 6th notes of the theme in Goldsmith's case, a little later and more prominently (da-da-da-DAAAAAAAA-dah at start of measure 5) for Williams. I'm sure there are other similarities.

The main theme is extremely prominent for the first third of the movie, but then virtually disappears until the end of the film. It was only included in 'The Enterprise' (indeed, it was only written) because Robert Wise didn't think that Goldsmith's original piece, a kind of love theme for Kirk and his ship, was "thematic" enough.

 

[Peach Wookiee]

I like what they went with.