The Hand of Fate - Part I
Signs track 12: "The Hand of Fate - Part I"
composed by James Newton Howard
Hollywood Records 2002
Well, I was going to review some Hisaishi next but I am having trouble deciding which track. So I move on to James Newton Howard. Signs is M. Night Shymalan's third major release and third collaboration with Newton Howard. Personally, I enjoy the film and not because of Gibson's involvement as I just noticed this is my second Gibson film in this blog. I thought the drama was exquisite and the grieving family moving. I also enjoy the ending and that is one of the reasons that this track shows up in my must hear list. The scene during this track is when little Morgan gets the breath knocked out of him by the alien and we all suffer his asthma attack while Reverend Graham shoots him full of adrenaline. It is one of the most enduring moments in modern film, that spansive few minutes when the audience prayed that fate gave him asthma to survive the attack.
The track starts with a hard knock and low woodwinds lead to what I will call the slow dripping. I did not come up with the comparison of this rhythmic melody to water dripping, playing its significant role in the film and I can not remember who did. So without any reference to the genius I give you slow dripping. This continues with strings building the Hermann-esque drama music, inserted with low brass inserts. The high brass hold with strings for what seems like ages. Then a piano starts the repetitive three ascending note fast dripping which are this album and movie's main theme. The theme is moved from string to woodwind and back with underlying brass punctures. Again, the repetition mimicking a dripping faucet or bubbling stream, only with a more dangerous undertone. Finally, the rhythm builds to a soft piano, this time in descending notes underscored by strings playing a lovely secondary melody. An oboe takes over with another melodic line again in descent, all of this pointing toward a happier ending, which is then finished by strings and woodwinds in a soft tone. The strings then pick up a panicked fast itching sound while the piano and flutes take over with more fast dripping only this time only a more glissando to the peak of the theme rather than three distinct notes. Another drop in volume to just the repetitive theme before the dripping theme is punctured by low brass and horns to add one more level of long ascending theme notes. It is quite an incredible layering as it seems the brass is the melody now and continues to morph the theme while the strings and flutes screech to the top in syncopation. Finally the flutes are all that's left of the dripping and brass just continue to move in long durations. At 4:23, a very cool thing happens. The strings populate the entire sound with a high fast dripping theme while the brass underscore in whole notes. Then the strings just continue rhythmic single notes with an inkling of ascension like we are holding our breath. When the brass come in alone with the dripping melody, more additions are made until the entire orchestra is entered on this same theme. My favorite part is at 4:57. The high strings are in a bright enchanting dripping theme while the brass have the main melody, a broadened version of the theme, ever deeper. The entire orchestra continues this but quietly recedes until the end of the track. What a journey?
This track is definitely the high point of the album, although the other tracks prove just as incredible. The entire movie and film combination pay a large tribute to the Hitchcock - Hermann collaboration that Shymalan and Newton Howard have. The music to Signs plays a title role during the opening credits as only names are flashed on the screen rather than a scene important to the movie giving allowing the viewer to hear a concert. Furthermore, the movie would not have its thrills without those pinching and bursts of sounds at just the right moment. Newton Howard has fast become one of my favorite composers solely because he alters each film mood with every score he composes. Signs is only one prime example.
The track starts with a hard knock and low woodwinds lead to what I will call the slow dripping. I did not come up with the comparison of this rhythmic melody to water dripping, playing its significant role in the film and I can not remember who did. So without any reference to the genius I give you slow dripping. This continues with strings building the Hermann-esque drama music, inserted with low brass inserts. The high brass hold with strings for what seems like ages. Then a piano starts the repetitive three ascending note fast dripping which are this album and movie's main theme. The theme is moved from string to woodwind and back with underlying brass punctures. Again, the repetition mimicking a dripping faucet or bubbling stream, only with a more dangerous undertone. Finally, the rhythm builds to a soft piano, this time in descending notes underscored by strings playing a lovely secondary melody. An oboe takes over with another melodic line again in descent, all of this pointing toward a happier ending, which is then finished by strings and woodwinds in a soft tone. The strings then pick up a panicked fast itching sound while the piano and flutes take over with more fast dripping only this time only a more glissando to the peak of the theme rather than three distinct notes. Another drop in volume to just the repetitive theme before the dripping theme is punctured by low brass and horns to add one more level of long ascending theme notes. It is quite an incredible layering as it seems the brass is the melody now and continues to morph the theme while the strings and flutes screech to the top in syncopation. Finally the flutes are all that's left of the dripping and brass just continue to move in long durations. At 4:23, a very cool thing happens. The strings populate the entire sound with a high fast dripping theme while the brass underscore in whole notes. Then the strings just continue rhythmic single notes with an inkling of ascension like we are holding our breath. When the brass come in alone with the dripping melody, more additions are made until the entire orchestra is entered on this same theme. My favorite part is at 4:57. The high strings are in a bright enchanting dripping theme while the brass have the main melody, a broadened version of the theme, ever deeper. The entire orchestra continues this but quietly recedes until the end of the track. What a journey?
This track is definitely the high point of the album, although the other tracks prove just as incredible. The entire movie and film combination pay a large tribute to the Hitchcock - Hermann collaboration that Shymalan and Newton Howard have. The music to Signs plays a title role during the opening credits as only names are flashed on the screen rather than a scene important to the movie giving allowing the viewer to hear a concert. Furthermore, the movie would not have its thrills without those pinching and bursts of sounds at just the right moment. Newton Howard has fast become one of my favorite composers solely because he alters each film mood with every score he composes. Signs is only one prime example.
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