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A special column of the music general counsellor of Morriunion
Mr. Yang dalin and Ms. Yang dong
The Establishment of the Music Style of the Italian Spaghetti Western Movie
---- An analysis of the incidental music of the "Bounty Golden Trilogy" (2)
The Chinese famous specialists and pioneer for research on film music  The married couple Mr.Yang dalin and Ms.Yang dong
The Chinese famous specialists and pioneer for research on film music
The host of Beijing radio and TV station and so on.
The music general counsellor of "China Morricone Fans Association"
The married couple Mr.Yang dalin and Ms.Yang dong
Their E-mail ydlgzs@sina.com
The Establishment of the Music Style of the Italian Spaghetti Western Movie
---- An analysis of the incidental music of the "Bounty Golden Trilogy" (2)
The writer Daling Yang
Translated by Tianyi Han 24th Aug, 2009

"The Good, the Bad, and the Ugly"-the third episode of the Bounty Golden Trilogy, which was produced in the same year (1966) shortly after " A Fistful of Dollars", further established the Leone Style, which was gradually formed in the previous two films. With the addition in the length and the amount of information of the film, the setting of the characters and the plots of "The Good, the Bad, and the Ugly" became more complicated and devious. It was exactly on the basis of this film that was the most significant film among all the products of Leone established-the "Once Upon a Time in the West" (1968), followed by the whole trilogy.

The style of the incidental music, which was represented by the theme song played in the beginning of the film, came down in one continuous line of the previous two films. The composer added more elements like the sound of the gun while maintaining the fundamental elements (whistle, electric guitar and the sound of chorus by men), and he also magnified the effect of the original part of mockery, humor and the purposely introduced sense of wildness as well. The structure of the theme song of "The Good, the Bad, and the Ugly" was comparably integrated, which was presented by three paragraphs. The leading sound model of the first paragraph, which could be vividly called the "freak yell model", came directly from the sound of the domestic animals, and it was imitated by human and the "wa" sound played by harmonica. It was exactly the "freak yell model" which was introduced between music and sound and therefore carried different timbres that played an important role in the process of narration throughout the whole film. The solo played by electric guitar in the second paragraph possessed a extremely rough and fierce timbre, and was, in the process of forward and upward, in persistent correspondence with the chorus by men, which carried a bright rhythm and a nearly bellow sound. It came back to the strong wildness and comedic atmosphere generated by the "freak yell model" in the third paragraph, followed by the climax produced by the pressing melody, which was played by the trumpet with a sharp timbre. The wonderful little-scale symphony, which was constructed by all kinds of irregular music instruments and the tone which carried a property of sound, ultimately ended up with the effect of the more and more frequently sound of guns.

In the very beginning of the film, the boy appeared in the previous film was bailing beside a well on a donkey, while a man riding on a horse was found coming gradually from far away which was folded by twilight. It was the first episode of the incidental music emerged from the plot of the story that was in exaggerating contrast with the strongly comedic and wild effect produced by the opening theme. With the soft string background music, combining with the wild and vacant scenery of mountains in the establishing shot, the guitar solo expressed obviously the moving tune in Spanish style. The magnificent melody appeared only once in the film, though, it left an unforgettable impression. Simple, but overwhelmingly refreshing, that's exactly the character and genius of the great musician Morricone. The pacing of the horse under the crotch of the man coming even seemed graceful in the lyric atmosphere produced by the music. The tune turned to be wan and a little cattish with the close shot where the guest dismounted, and the "freak yell model" was heard exactly simultaneously. This was the first and yet informal pose on the stage of the "bad man" played by Lee Van Cleef in the film......

The endless inspiration and gushing ideas of Morricone as a composer was revealed from the time he was composing the incidental music for the Bounty Golden Trilogy. In the following plot, the music played when Sentenza dismounted (finished when he inquired the information in cost of bottles of wine)-the trumpet solo which carried a sense of sorrow and melancholy was obviously replacing the words and dialogues and conveying the information in the scene independently. The music composed by Morricone and the classic actions created by Leone, as well as the scenes about the habitats of the wounded soldiers during the state war were combined together, and came into a string of thought that carried fruitful and ineffable connotations. In the scene that the "ugly man" Tuco chased the "good guy" Joe, the theme music was emerged in a relative integrate fashion. It's obvious to be heard that the same "freak yell model" combined with the image of Tuco was exactly presented by the most comedic and the easily-felt "ugly" human voice. The mountain by which Tuco ran passed on the horse in the scene was the same one that appeared in the second film-A Fistful of Dollars-a regular mountain with strange shape. The music and the scene were in perfect correspondence all the time. In the variation part of the theme, the music combined with the close-up shot which Leone was adept at, vividly depicted the imperceptible inner world and even the expression of the characters.

Near the end of the film, the scene from the time Joe headed up and looked into the distance, and then fired the second bomb soberly by his cigar, to the time Tuco ran through the great cemetery to look for a tomb, became the most frequently discussed scene by the researchers and the critics of the work of Leone. On the base of the repeated model played by piano, the English tube performed a sorrow melody once more. Then the singer Edda Dell'Orso sang out the moving tune. It's emphasized that, it was the first time-in the film "The Good, the Bad, and the Ugly"-for the so-called "the appropriate soprano of Morricone" to perform in the masterpieces of Morricone. Furthermore, the music for this scene was the few pieces of incidental music that done after the accomplishment of the scene in the early works of Leone, and at the same time, it fulfilled a classic scene in the history of film. The music combined with the telephoto lens of Tuco's running, from different distances and different points of view, along with the close shot and the close-up scene of the characters, produced a fabulous seeing and hearing effect with deep meanings, and brought endless imaginary space and spiritual shock to the audiences. From now on, the special style of the incidental music of the Spaghetti Western film was elementarily established.

 
2007-07-01
 
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Below are added information
001-The video mentioned by Yangdalin's article
 
001-"The Good, the Bad, and the Ugly"-the third episode of the Bounty Golden Trilogy, which was produced in the same year (1966) shortly after " A Fistful of Dollars", further established the Leone Style, which was gradually formed in the previous two films. With the addition in the length and the amount of information of the film, the setting of the characters and the plots of "The Good, the Bad, and the Ugly" became more complicated and devious.........
(Save in CC union)
 
002-In the very beginning of the film, the boy appeared in the previous film was bailing beside a well on a donkey, while a man riding on a horse was found coming gradually from far away which was folded by twilight. It was the first episode of the incidental music emerged from the plot of the story that was in exaggerating contrast with the strongly comedic and wild effect produced by the opening theme. With the soft string background music, combining with the wild and vacant scenery of mountains in the establishing shot, the guitar solo expressed obviously the moving tune in Spanish style......
Save in CC union
 
003-Near the end of the film, the scene from the time Joe headed up and looked into the distance, and then fired the second bomb soberly by his cigar, to the time Tuco ran through the great cemetery to look for a tomb, became the most frequently discussed scene by the researchers and the critics of the work of Leone........
Save in CC union
 
002-About Edda Dell'Orso
 
女歌唱家艾达·戴洛尔索 Edda Dell'Orso
女歌唱家艾达·戴洛尔索 Edda Dell'Orso
女歌唱家艾达·戴洛尔索 Edda Dell'Orso
 
女歌唱家艾达·戴洛尔索 Edda Dell'Orso
女歌唱家艾达·戴洛尔索 Edda Dell'Orso
女歌唱家艾达·戴洛尔索 Edda Dell'Orso
女歌唱家艾达·戴洛尔索 Edda Dell'Orso
 
Biography for Edda Dell'Orso (From IMDB)

Date of Birth
16 February 1935, Genoa, Italy

Mini Biography
Since the mid-1960s, Edda Dell'Orso has provided haunting wordless vocals to a large number of film scores by Ennio Morricone and other prominent, mostly Italian composers of those times; Piero Piccioni, Bruno Nicolai, Roberto Pregadio and Luis Bacalov.

But her name is synonymous with Morricone and in particular, the soundtracks of the original spaghetti westerns of Sergio Leone, such as "A Fistful of Dollars", "The Good, The Bad, and The Ugly" and "Once Upon A Time In The West", where her dramatic voice was deployed as an instrument for the first time and to revolutionary effect.

The singer's sensuous and often playful vocals help provide tense atmospheres and dreamy moods to these soundtracks, as well as to the scores for Leone's "A Fistful Of Dynamite", composer Piccioni's lovely music for the film "Scacco Alla Regina", and Spanish composer Anton Garcia Abril's strange but highly effective score for the offbeat 1967 sci-fi drama "4-3-2-1 Morte!", that with Edda's assistance somehow successfully helps blend an atonal chamber orchestra with a go-go beat and cartoon jazz.

In the 1970s, Edda contributed to two films by Italian shock horror director Dario Argento, including "L'uccello Dalle Plume di Cristallo" (The Bird With Crystal Plumage), and then in 1976 collaborated with the Italian progressive instrumental group Goblin (often used by Argento as well) for "Perche Si Uccidono?" (Why Do They Kill Themselves), a film essay about drugs and self-destruction.

She continues to perform and lives today in Italy with her husband, conductor and composer Giacomo Dell'Orso. Their last name translates to "of the bear".

IMDb Mini Biography By: The King of Fuh

Spouse
Giacomo Dell'Orso (? - present)


Trade Mark

Beautiful soprano voice with a three octave range

Trivia
Singer who provided wordless vocals to a large number of scores by the famous composer Ennio Morricone - often uncredited.

Began her music career in 1956.

Studied singing and piano in Rome, Italy.

Where Are They Now
(November 2008) Lives in Rome, Italy.

(here)

 
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