Intrada Soundtrack Forum

It's hard to provide any sort of definative answer here, because it's a case-by-case question. Someone mentioned "The Chase", a great example of source music working well together with score. Then there's Barry's "Petulia", a really fantastic blend of the two. However, Alfred Newman's "A Man Called Peter" is badly damaged by the constant interruptions, simply because the religious source cues don't blend well with Newman's score. So, it depends. If I had to choose one or the other, I would say it's safer to put the source stuff at the end in most cases, especially if the cues are really at odds with the rest of the score. A big band piece in the middle of a horror score could be disruptive, a big band piece in the middle of a breezy romantic score could fit right in... y'know.

Back at ya later

Darn, what with all those great replies and my procrastinating, I'm left with the silly spot-- repeating what has already been said, and stating the obvious. Oh well...

There certainly cannot be a unique one-method-fits-all solution; some scores work better in shorter form and some work better in a non-chronological order; and then, some songs or source music is better left within or without the score.

In the latter case, unless it is structured like a musical (Disney movies, for instance), if the source music differs widely from the score, I would rather preserve continuity; the radio music works fine in A Patch of Blue.

Regarding resequencing, as Southall noted, the important thing is for the listener to have the choice and the required information.
In other words, if you feel it works better in another order, please give the correct one in the liner notes, as Ford did for one score (I can't remember which). The major problems lies with suites that incorporate cues gathered from anywhere in the picture.

I usually prefer a chronological order, though; this way, you may hear the themes evolve and develop. Mind you, I will gladly buy and listen to something in another order, provided it is indeed more pleasant (avoiding repetition or wide differences-- a busy first and third acts separated by a long quiet second act) and the "true" order is given, so that I can try it.

Another thing regarding songs: placing them at the beginning might be better, since you can skip right from the beginning and then enjoy the music without having to think of stopping it before the songs, which you make sometimes strongly dislike and not bearing hearing once, even for a few seconds.

And then, of course, you can always make a CD-R, with fewer tracks, and everything in your own own favorite order.

The conclusion might be the most important thing is information: re-arrange the tracks if you think this will make for a better listening experience; I won't mind, so long as the notes specify how to reprogram everything in film order.

Now for this upcoming release; I agree the sequencing of the complete Tombstone album is perfect; having the very short "Thespian Overture" within the score was not too bothersome, but it was not really essential to the score itself either: it marked a moment in the narrative, but did not introduce a new theme used from then on, nor present a variation on an existing theme.
I guess Yavar's solution might be the best one: add short second score, so that completists will be happy to have the incidental music (albeit separately), the score's natural flow will not be interrupted, and you won't be paying for another CD for a mere 5-10 minutes of music.
Tough decision.

I trust the album producers and they usually get it right.


It seems for a lot of modern soundtracks, the sequencing is out of order, and for a lot of the limited discs, its in order.


It doesn't really mattter to me, though I prefer having the source stuff at the end (or left off entirely.)

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