{"id":1942,"date":"2010-09-16T11:12:18","date_gmt":"2010-09-16T10:12:18","guid":{"rendered":"http:\/\/blogs.kent.ac.uk\/music-matters\/?p=1942"},"modified":"2010-09-16T11:35:12","modified_gmt":"2010-09-16T10:35:12","slug":"secret-sibelius","status":"publish","type":"post","link":"https:\/\/blogs.kent.ac.uk\/music-matters\/2010\/09\/16\/secret-sibelius\/","title":{"rendered":"Secret Sibelius"},"content":{"rendered":"<p>\u00a0Tom Service, <a href=\"http:\/\/www.guardian.co.uk\/music\/tomserviceblog\/2010\/sep\/15\/jean-sibelius-james-bond\" target=\"_blank\">over on <em>The Guardian<\/em><\/a>, has noticed a similarity between Sibelius and the <a href=\"http:\/\/play.last.fm\/preview\/40898.mp3\" target=\"_blank\">James Bond theme <\/a>by Monty Norman.<\/p>\n<p>Alex Ross on <em>The Rest is Noise <\/em>has helpfully put together <a href=\"http:\/\/www.therestisnoise.com\/2010\/09\/sibelius-jean-sibelius.html\" target=\"_blank\">an audio extract comparing the two examples here.<\/a><\/p>\n<p>I\u2019d like to add another Sibelian Similarity: this time, by saxophonist Wayne Shorter, one-time sideman with Miles Davis and sax player with the great fusion band, <em>Weather Report<\/em>.<\/p>\n<p>The melodic line from the theme to \u2018Port of Entry\u2019 on Weather Report\u2019s live album from 1980, <em><a href=\"http:\/\/en.wikipedia.org\/wiki\/Night_Passage_(Weather_Report_album)\">Night Passage<\/a><\/em>, has always reminded me of the beginning of the trombone theme from Sibelius\u2019 great <em>Seventh Symphony.<\/em><\/p>\n<div class=\"kent-video-wrapper\"><span class='embed-youtube' style='text-align:center; display: block;'><iframe class='youtube-player' type='text\/html' width='474' height='297' src='https:\/\/www.youtube.com\/embed\/C-gbGEprDoA?version=3&#038;rel=1&#038;fs=1&#038;showsearch=0&#038;showinfo=1&#038;iv_load_policy=1&#038;wmode=transparent' frameborder='0' allowfullscreen='true'><\/iframe><\/span><\/div>\n<p>(The sax theme enters at 25&#8221;.)<\/p>\n<p>And the Sibelius theme:<\/p>\n<div class=\"kent-video-wrapper\"><span class='embed-youtube' style='text-align:center; display: block;'><iframe class='youtube-player' type='text\/html' width='474' height='297' src='https:\/\/www.youtube.com\/embed\/6g_cxZzOGoc?version=3&#038;rel=1&#038;fs=1&#038;showsearch=0&#038;showinfo=1&#038;iv_load_policy=1&#038;wmode=transparent' frameborder='0' allowfullscreen='true'><\/iframe><\/span><\/div>\n<p>(The theme itself starts at 5\u2019 25\u2019\u2019).\u00a0<\/p>\n<p>With a difference in the third note (and obviously in the rhythmic design), the shape articulated by the first gesture of the melody is similar in both cases:<\/p>\n<figure id=\"attachment_1944\" aria-describedby=\"caption-attachment-1944\" style=\"width: 614px\" class=\"wp-caption aligncenter\"><a href=\"http:\/\/blogs.kent.ac.uk\/music-matters\/files\/2010\/09\/Comparison.jpg\" target=\"_blank\"><img loading=\"lazy\" class=\"size-large wp-image-1944 \" style=\"border: white 5px solid\" title=\"Comparison\" src=\"http:\/\/blogs.kent.ac.uk\/music-matters\/files\/2010\/09\/Comparison-1024x315.jpg\" alt=\"Thematic comparison\" width=\"614\" height=\"189\" srcset=\"https:\/\/blogs.kent.ac.uk\/music-matters\/files\/2010\/09\/Comparison-1024x315.jpg 1024w, https:\/\/blogs.kent.ac.uk\/music-matters\/files\/2010\/09\/Comparison-e1284631140827-150x47.jpg 150w, https:\/\/blogs.kent.ac.uk\/music-matters\/files\/2010\/09\/Comparison-300x92.jpg 300w, https:\/\/blogs.kent.ac.uk\/music-matters\/files\/2010\/09\/Comparison.jpg 1250w\" sizes=\"(max-width: 614px) 100vw, 614px\" \/><\/a><figcaption id=\"caption-attachment-1944\" class=\"wp-caption-text\">Thematic comparison<\/figcaption><\/figure>\n<p>Was Wayne Shorter, like Monty Norman, a secret Sibelius fan as well ?<\/p>\n<ul class=\"kent-social-links\"><li><a href='http:\/\/www.facebook.com\/sharer.php?u=https:\/\/blogs.kent.ac.uk\/music-matters\/2010\/09\/16\/secret-sibelius\/&amp;t=Secret Sibelius' target='_blank'><i class='ksocial-facebook' title='Share via Facebook'><\/i><\/a><\/li><li><a href='http:\/\/twitter.com\/home?status=Secret Sibelius%20https:\/\/blogs.kent.ac.uk\/music-matters\/2010\/09\/16\/secret-sibelius\/' target='_blank'><i class='ksocial-twitter' title='Share via Twitter'><\/i><\/a><\/li><li><a href='https:\/\/plus.google.com\/share?url=https:\/\/blogs.kent.ac.uk\/music-matters\/2010\/09\/16\/secret-sibelius\/' target='_blank'><i class='ksocial-google-plus' title='Share via Google Plus'><\/i><\/a><\/li><li><a href='http:\/\/linkedin.com\/shareArticle?mini=true&amp;url=https:\/\/blogs.kent.ac.uk\/music-matters\/2010\/09\/16\/secret-sibelius\/&amp;title=Secret Sibelius' target='_blank'><i class='ksocial-linkedin' title='Share via Linked In'><\/i><\/a><\/li><li><a href='mailto:content=https:\/\/blogs.kent.ac.uk\/music-matters\/2010\/09\/16\/secret-sibelius\/&amp;title=Secret Sibelius' target='_blank'><i class='ksocial-email' title='Share via Email'><\/i><\/a><\/li><\/ul>","protected":false},"excerpt":{"rendered":"<p>\u00a0Tom Service, over on The Guardian, has noticed a similarity between Sibelius and the James Bond theme by Monty Norman. Alex Ross on The Rest is Noise has helpfully put together an audio extract comparing the two examples here. I\u2019d like to add another Sibelian Similarity: this time, by saxophonist Wayne Shorter, one-time sideman with &hellip; <a href=\"https:\/\/blogs.kent.ac.uk\/music-matters\/2010\/09\/16\/secret-sibelius\/\" class=\"more-link\">Continue reading <span class=\"screen-reader-text\">Secret Sibelius<\/span> <span class=\"meta-nav\">&rarr;<\/span><\/a><\/p>\n","protected":false},"author":620,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[1110],"tags":[1377,1378],"_links":{"self":[{"href":"https:\/\/blogs.kent.ac.uk\/music-matters\/wp-json\/wp\/v2\/posts\/1942"}],"collection":[{"href":"https:\/\/blogs.kent.ac.uk\/music-matters\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/blogs.kent.ac.uk\/music-matters\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/blogs.kent.ac.uk\/music-matters\/wp-json\/wp\/v2\/users\/620"}],"replies":[{"embeddable":true,"href":"https:\/\/blogs.kent.ac.uk\/music-matters\/wp-json\/wp\/v2\/comments?post=1942"}],"version-history":[{"count":13,"href":"https:\/\/blogs.kent.ac.uk\/music-matters\/wp-json\/wp\/v2\/posts\/1942\/revisions"}],"predecessor-version":[{"id":1956,"href":"https:\/\/blogs.kent.ac.uk\/music-matters\/wp-json\/wp\/v2\/posts\/1942\/revisions\/1956"}],"wp:attachment":[{"href":"https:\/\/blogs.kent.ac.uk\/music-matters\/wp-json\/wp\/v2\/media?parent=1942"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/blogs.kent.ac.uk\/music-matters\/wp-json\/wp\/v2\/categories?post=1942"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/blogs.kent.ac.uk\/music-matters\/wp-json\/wp\/v2\/tags?post=1942"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}