Meet Joe Black - Film Soundtrack by Thomas Newman
An overview of the Meet Joe Black film score composed by Thomas Newman. the word at the start): breathy strings, plinky piano, the vaguest trace of deathly beauty. It's in "Walkaway" however that Newman's gorgeous central melody first. I used Notation Composer to create piano sheet music of the song "Walkaway" from the movie Meet Joe Black, original song by Thomas Newman. This version. This is a piano arrangement of “Walkaway” from the soundtrack Meet Joe Black. Composed by Thomas Newman. Complete 2-page PDF sheet music is readily.
At no point would Joe Black be mistaken for any other composer's work. The familiar chilly acoustic wash opens the album in "Yes" Anthony Hopkins' calm tones intoning the word at the start: It's in "Walkaway" however that Newman's gorgeous central melody first creeps up on oboe and soft strings, one that wrenches the heart even when introduced in minimalist fashion.
Here is another place where Joe Black differs from other Newman scores: There's also a multitude of other motifs floating around in spine-tingling ethereal fashion, playing right to the heart of the film's themes of death, mortality and love.
The warm acoustic guitar in "Death and Taxes" and the brilliantly jazzy woodwind in "Fifth Avenue" are especially notable.
The most prominent secondary idea though would be the love theme, getting the most graceful and romantic airing possible in "Whisper for a Thrill", the first time Newman really lets his ensemble go, although there's still a remarkable degree of restraint that makes one anticipate the climax.
And what a climax it is. For a composer who is often criticised for holding too much back, Joe Black's finale "That Next Place" shows the composer's god-given gift for resoundingly beautiful, triumphant orchestral writing, the main theme rising up to overwhelming proportions on several occasions over 10 mins.
Meet Joe Black - Walkaway - Thomas Newman | Piano Plateau Sheet Music
It might be the greatest close to a Newman album ever, alongside that of The Shawshank Redemption and Angels in America. The most satisfying thing about the score overall is its coherency, painting a poignant and spiritually powerful portrait of life and death through the little nuances; the lovely instrumental writing; the heartbreaking moments contrasted with that finale.
Throughout there is a careful, gradual application of mood, before our attention is finally rewarded tenfold, a familiar trait of the composer but done with special grace here.
Death arrives at Bill's home in the body of the young man, explaining that Bill's impassioned speech has piqued his interest. Given Bill's competence, experience, and wisdom, Death says that for as long as Bill will be his guide on Earth, he will not have to die. Making up a name on the spot, Death is introduced to the family as Joe Black.
Bill's best efforts to navigate the next few days — knowing them now to be his last — fail to keep events from going rapidly out of his control. Drew is secretly conspiring with a man bidding for Parrish Communications.
He capitalizes on Bill's strange behavior and unexplained reliance on Joe Black to convince the board to vote him out as Chairman, using information given to him inadvertently by Bill's son-in-law, Quince, to push through approval for the merger which Bill had decided to oppose. Although confused by the sudden reappearance of Joe, believing him to be the young man from the coffee shop, Susan eventually falls deeply in love with him.
Joe is now under the influence of human desires and becomes attracted to her as well.
Bill angrily confronts him about his relationship with his daughter, but Death personified in Joe declares his intention to take Susan with him for his own. As his last birthday arrives, Bill appeals to Joe to recognize the meaning of true love and all it encompasses — especially honesty and sacrifice.
Joe comes to understand that he must set aside his own desire and allow Susan to live her life. He also helps Bill regain control of his company, exposing Drew's underhanded business dealings to the board by revealing himself to be an agent of the Internal Revenue Service and threatening to put Drew in jail.
Bill devotes his remaining hours of life to his daughters at his party. Joe says a last goodbye to Susan, who seems to finally sense his true identity. As fireworks appear in the distance, Susan watches as Joe and her father walk out of view. Bill expresses trepidation but Joe assures him that he has nothing to fear.
After a few moments, Joe reappears alone. The spirit has departed, leaving the young man from the coffee shop, unaware of how he got here. Susan is now aware that her father has gone on to his reward. She asks, What do we do now? The man she knows as Joe replies, It will come to us. Listed below are the tracks I used, in order: I did not cut the music in story order this time. Instead, I set it up for the opening track to move the other tracks along musically.
The haunting piano chords and electronic background introduce the theme to this film.
Meet Joe Black - Walkaway Chords - Chordify
We can go at any time. Find what it is you live for and hold on tight. It is a lovely scent. This has some light string work, march-like with its grace notes. A little snippet of Oboe, then the strings come back in with a violin solo of their own as if claiming the piece for their section alone. The scene is cute, the music is light with the plucking strings and Clarinet solos. As a fellow Clarinetist, I approve. Joe almost gets hit by a car again as he walks with Bill.
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Again, I approve of the Clarinet work here. Thomas Newman is known for his piano solos and he never disappoints in this category. This theme is gorgeous.
I don't use that word a lot when it comes to music. Some is pretty, some beautiful, rarely is music gorgeous. Thomas Newman has a set chord progression he sticks to, like Williams' 7th in his early years. My wife is a Flutist and the solo flute in this track weaves nicely as a prelude to the strings. There are two very distinct sections to this track.
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I am a fan of the former more than the latter. Ever have one of those moments where you wanted to say something to someone and then you don't and regret it?Meet Joe Black
Now picture two people doing this but missing each other when they turn around to say it. Life is too short.
I love a good French Horn solo but adore a full, dark French Horn call. No spoilers for what happens in the film, it works a little weird for what it intends vs what should've happened but this score ends like most Thomas Newman scores of the 80's and 90's, with a boisterous finale. I do not own any copyright music from Meet Joe Black, just ownership of this suite. I purchased this score from a Hastings the day after I watched the film one time. That's all it took.