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Gargoyle customs-
It has been well established and I would think we all are well aquainted with the notion that Gargoyles didn't use names. Not for themselves as humans did and that the eventual use of names was influence and need of conformity from/by humans.
However you have said that gargoyles kept their myth, history and traditions alive by oral revelation from one generation to the next.
How where they able to tell sagas of things great leaders had done if they had no name of which to tell? (Try to tell your children about Napolean and all the things he did and all the people in his life without using his name)
It would be all too generic and vague for any real value. Did gargoyles never realy have great leaders? Did they consider the clan as a whole more important than the decision making of the leader?
Thanks
and further note-my post on the guitar tab--well the on the outro the difference in the type size from the field box to the post page made it look wrong. so here is the outro again.
E-6--6--6--6---6--6---6-------1---6---6---6]
B------------4------1---1---1-------]----CONTINUE
G
D
A
E
E--6h5h6h8---9h11h13h12---13h14---14h17---18
B
G
D
A
E
History to the gargoyles is more about the clan, about movements, than about individuals. But descriptive terms can be used to identify individuals. (Cf. Homer's Illiad.) I'm forgetting the technical term just at this moment -- where's Aris when you really need him -- but if you've got a guy named Ajax of the Broad Shoulders, for example, then do you really need the "Ajax" part of the name.
The point of NOT naming, as Hudson would say is to NOT set limits on who or what an individual is. So he might be "Of the Broad Shoulders" one minute and also be "Of the Massive Temper" the next. Both would be true, but reflect an aspect of the individual, as opposed to making an attempt to wrap the entire individual up into one word: Ajax. Over time these epithets would become as familiar as a name for an historical figure -- particularly in the context of a tale told over and over again.
How did the composition for the Gargoyles theme come to be?
Was all music made just for certain situations, (Macbeths 'break-up' scene with Luoch(sp)), or was it lifted from somewhere else???
Was the music made for the characters/scene or did the character/scene just match the music?
1. We auditioned a few composers. Liked what Carl Johnson was doing. Hired him. And he composed the theme.
2. All the music that aired on the series was composed FOR the series, but once a piece was composed it was put in our Gargoyles' Music Library. Our budget didn't allow for us to score every episode with original music, so our amazing music editor, Marc Perlman, used the Gargoyles' Music Library to edit a score for every episode.
3. Uh... Well, again, Carl composed certain themes that were applied and often reapplied to certain characters. But Marc juggled all this stuff.
GARGOYLES MUSIC:
I have always wanted to find the music, aside from the title and close music from Gargoyles (For example, the Something Sad is happening music, or An Evil Robot Is Attacking Music).
Can I find the music played during the show? Thanks
Only by watching the episodes, I'm afraid.
I've always loved Carl Johnson's music in the series. Watching City of Stone Part IV recently, I realized that you can hear this great, low, vocal music as Macbeth and Gruoch abandon Castle Moray. I thought it was a good, dramatic piece to go along with the scene, but I can't remember hearing it in any other episode. Do you know if original music was composed/recorded for this episode in particular, being one of the landmark multi-parters?
Speaking of the music of the series, I probably should have asked this first. I'm not sure how score composition works in an animated series. I seriously doubt new music was recorded for every episode, but I really can't say. Was the music used in each episode from stock clips? Would Mr. Johnson produce a series of generic pieces at the beginning of each season, or for the multi-parters? Or am I wrong, and it was more frequently than that? I realize that you may not have had that large a part in the incorporation of a score into the series, but anything you know about the process would be appreciated.
I'm sorry, I can't remember specifically about that moment in City IV. Generally, on GARGOYLES, we fully scored a few episodes at the beginning of each season. And we partially scored selected episodes where we knew we'd need something unique. Then Marc Perlman, our amazing music editor, would use our music library to edit a score to everything else.
At SONY, they score EVERY episode, but they do it with synthesizers not orchestras, in order to afford it.
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