This solo almost exists in the film, we hear a snippet of it right when the Brachiosaur makes its appearance as Grant, Tim and Lex are waking up in the tree. It really does work as an inverse to the predator motif.
I've seen JP maybe a hundred times and never noticed that four note danger motif that Williams used throughout the movie, but once you hear it, you can't miss it. He's the GOAT for a reason
If you ever see the video of John Williams conducting the theme to Jurassic Park with, he Vienna Philharmonic, you’ll see him close his eyes while this solo is played with a look of intense feeling. This solo is very important to Williams, and it is probably the heart of the whole composition.
I always remember this solo from the original Jurassic Park the Ride in the 90s. It was the first thing that played as the boat ride began its descent. It made you feel like you were entering a new world. Look back at videos from that time, you'll hear it. If you compare it to the ride today, which doesn't have it, you'll definitely see how impactful it was to that experience and how it definitely supports your thesis that this horn call is the basis for the entire soundtrack.
Michael Giacchino uses this motif in all 3 Jurassic World scores which helps establish it too. It becomes a sort of theme for anticipation - whether thats the anticipation as we build up to a nostalgic cameo or the build up to a pivotal choice whether to set loose the dinosaurs
There is also the possibility it was meant to be in the film, but after the fact was not used. Edits and Director preference does play a part in what goet into the film. And, the possibility, which John does often, that he wanted that to be part of the soundtrack recording, even though it wasn't being used in the film, because he does think "Artistically" outside of the film. That is why on many of his soundtracks cues have a "real" ending you do'nt hear in the film.
Williams has always been fantastic about what I'd call "melodic economy." Not only do different characters/situations each get their own theme, but the content of some of those themes is related in a way that underlies the connections between the in-story entities they represent. In that way, the horn call is like an ur-motif for danger AND wonder - or wondrous danger? Dangerous wonder? Also, the guy just loves major 7ths. A lot of iconic Williams scores have them - harmonically and/or melodically - even going back to, like, the NBC News theme and Superman. Maj7 chords just have this shimmering quality to them, and melodies with a lot of open intervals (4ths/5ths) that also pass through that 7th scale degree borrow that shimmer.
I can't believe I haven't seen this video yet, cause I've been obsessed with this solo for years. It seems to encapsulate the entire feeling of the score so well. I remember watching the film for the millioneth time looking for it and getting so puzzled when I realized it was not there at all (except for the scene in the tree). I was also so glad Michael Giacchino used it in the JW films.
When I saw this video listed, my mind went immediately to the ending of the end credits that you mentioned. I heard this solo as the optimistic expression of that motif, and the end credits one as the ominous, lost-innocence, haven't-resolved-everything version. It's why I was appalled when I went to hear the movie in concert, and they replaced the ending with a triumphant fanfare ending. That end credits as seen in the film is one of the most powerful bits of music in the whole film.
The major 7th interval may be considered as a half step interval spaced by nearly an octave from the tonic. That being said, John Williams did a similar theme to Jaws as the shark motif which are alternating tones between the tonic and one half step upward creating tension. This worked really well for that movie and thus would work for others.
My personal opinion. All the other similar motifs used in the movie were created before. When he needed a main theme for the record he modified the motif accordingly to have a similar orchestration to Venus from The Planets by Gustav Holst which seems to be the main inspiration for the track
ooh, interesting thoughts! I love hearing other takes. I almost want to make a second part to this video showcasing everyone's thoughts as this is very interesting to me
It's kind of like clarion call of trumpets when our heros jump into battle in Star Wars. You will hear those notes of 'The Force' played at key moments, as a hero speaks, dies, or performs a noble action, like throwing the Emperor off the balcony.
I like your explanation a lot and your citations of the cues. I think the solo has a relationship with the "Danger" motif that two opposing phrases of music do in regard to contrary motion. It's a common Williams technique to have one line - say the basses and cellos - descending in pitch, as another line - let's say high strings - ascend in pitch. It brings about a certain movement that plays with emotion, adrenaline, and visuals all at the same time and can be very powerful when used correctly. Personally, I think the relationship between the opening horn motif and the "danger" motif is similar. The horn motif is majestic and religious, as it cadences right into the main "Dinosaur theme", but that Gb - or B natural when transposed - obviously sticks out in the key of Bb. I think it's sort of saying, in a literal way: "these are majestic creatures, but they're absolutely dangerous and unpredictable." Your parallels between that minor third of the horn solo and the "danger" motif play into this parallel, coupled with the contrary motion analogy. You also have the horn solo moving up for the most part: a fourth up from the root, a minor third down, and then a major seventh up. The "Danger" motif moves down entirely, except for the semitone shift between the first two notes. Here, there is a type of contrary motion, but also in raw emotion; the horn motif is majestic but reverent, while the "danger" motif takes that reverence and shows why you need it.
I think you answered your question partway thru the video where you played the "last thing we hear" in the film at the end of the credits. The opening here act as a compliment to the ending.
If it were that way in the movie, I would 100% agree with you, but considering it's not (and it's track 2 on the soundtrack) it leaves things open to other potential ideas
When I told my daughter (9) about it (she plays Oboe) she said, if you connect the notes with a line, you get the flowing tail, back and neck of a brachiosaurus. I don’t know if Williams thought of that, but if you think of „how can I visualize the shape of a brachiosaurus with notes it does not seem so far fetched
Whats fascinating too is that this was written DURING the recording sessions and was the LAST thing recorded. The opening / ending of this was recorded separately to be edited around the take of "The Dinosaurs" (ie: the Brach scene). Williams had hurt his back during the sessions and a part of me wonders too if while he was sitting down, he didn't just have the idea. The Credits were also shown to have 3 different versions: the version we have, an extended version like what we have but with Choir, and a shorter version of what we have. Only one version was recorded. It also seems 1mA Opening Titles was a late addition to the film and bumped End Credits part 1 to a day without choir which may be why the EC doesn't have choir in it anymore. There's something in this sequence of events that makes me think Williams wanted to have another album track or possibly another option for the Credits.
So much can change in the last minute it's hard to be sure without meticulous documentation. The track "Theme to Jurassic Park" and what we typically perform is a medley of a few cues, like the Brach scene and ending sequence in the chopper I believe (I'd have to check to the movie again to be certain what cues), so it makes sense that was written last. I know the horn solo was recorded at the end of a recording session (from Jim Thatcher himself) but I'm not certain about it being the last thing recorded. As for the credits, the Live to Projection version is also different, but that's probable just to end on a loud finish over the soft original ending
@@AndrewMerideth Exactly! We don't know everything, but based on what we do know, it does seem like there were some last minute changes with this intro/outro (ie: "3m2 Record Intro") being only sketched and being the last thing recorded for Jurassic Park makes me think it was written during the sessions (as Williams is prone to doing lol) its hard to know for certain, but knowing that they'd already kinda shuffled the sessions schedule once to incorporate "1mA Main Titles" to be on the choir day, bumping out "End Credits Part 1," It does seem like it happened post that as we have the conductor's score to that, but only a sketch for "3m2 Record Intro." The LTP versions are interesting adaptations, like the entract and end of Prt 1, using TLW music rather fittingly actually heh
When I hear the four note motif in the solo, the first thing I think of is the opening of the 60s Star Trek. It‘s also sounds like a mysterious version of what is played when the helicopter arrives at the island.
Im sure most people have clicked off by then since I was doing typical outro type things, but I also altered my intro theme to be the notes of the horn solo as well that not one has commented about either
The use of the 7th interval for the danger theme just reminded me of the 7ths used in the measures leading up to the 11/4 bar in Rite of Spring as seen in the movie Fantasia. Granted, the 7ths in Rite of Spring are minor whereas the Jurassic Park ones are major, but it’s still pretty funny to me how dinosaurs enjoy scaring the hell out of us with their 7ths.
Way back in high school I played the F Horn 2 part in an arrangement of the main theme for concert band by Johnnie Vinson. The solo was not present in the arrangement, but it certainly would've been nice; instead the arranger put the part of the tune in which the main characters arrive at the park by helicopter at the very beginning.
Although it was not heard in Jurassic Park (1993), It was briefly heard in Jurassic World: Fallen Kingdom (2018) when Claire looks at the portrait of John Hammond in the Lockwood Estate.
Fantastic. I noticed many of the similarities you mentioned on my own, I’m glad someone made a video about this. I would also add that it’s reminiscent of the “Welcome to Jurassic Park” theme (the famous trumpet melody) with the melody’s “N” shape (up down up) spanning a Bb octave.
I can see an argument for it, but I'd say no. What you are referring to is the island theme, and while there is similar motion, that's about it. There's more evidence tying that line to the dinosaur themes as well as the other evidence that I found. You could be right, only John Williams knows for certain, so it's just my opinion
That's what I always assumed too. Similar contour (a pair of ascending leaps, the 2nd one starting a step higher than the first) and two perfect 5ths (although in the horn call, the 1st one is inverted and the 2nd one is formed by the relationship between the highest notes... so maybe that's a stretch?)
I sometimes hear a version of this horn solo played with one altered note: B-flat, G, B-nat, high B-flat (concert pitch). This makes the first interval a major-6th (as opposed to the perfect 4th we're used to) which creates more of a longing sound in my opinion. I hear this altered version often enough, I can't imagine it's a player mistake. Anyone else?
Without negating your essay, my thoughts on this are: he created the "Dinosaur theme" (or as I knew it, the "Welcome to Jurassic Park" theme), he then made it "dangerous" by making it dissonant and then you have the 4-notes motif. When he made the suite for the CD, he added that calling, which is somewhat reminiscent to his fanfare, olympic themes from the 80s and 90s, based on the "Dinosaur theme".
When my band played a version of this...YES, IT OPENED WITH THIS! It's actually VERY COMMON for EXTENDED MUSIC on soundtracks (case and point? Did you know SpongeBob 's SWEET VICTORY is actually FOUR AND A HALF MINUTES LONG with three verses, nit one.
I am wondering if there are comparable themes in other major John Williams’ scores like the Superman series, Star Wars, Home Alone 1&2, Harry Potter franchise, Indiana Jones series, and so forth.
The Horn solo is an insert recorded in order for the CD, to have the theme in a standalone track. The original conducter's score has it named "3m2 Record Intro and Wompi ending" (which contains the horn solo, and the harp ending.)
Walt Disney animated dinosaurs to Rite of Spring because it was harsh, alien, and violent. Williams’ use of dissonant major sevenths and tritones is evocative of Fantasia.
Personally I dont think Stravinsky was on Williams mind for this score, but there are a lot of emphasized 7ths in Rite of Spring, so maybe it was, even if subconciously
John Williams is known to be a fan and imitator of Stravinski, even quoting Rite of Spring in Star Wars at least once. I think a Stravinski reference is a theory that holds water
Maybe you saw this in a sketch score at some point - I can't find an instance of it in this video, but JW writes sketch scores that an orchestrator puts on the big page. If something is to be played by piccolo and oboe, he may mark that "piccolo oboe". There is no instrument in common use that is like an oboe but higher in pitch.
I think the motifs are related. The harmonic motion (to me) feels like it could be V-I-bVII-ii* Or V-bVII-V(or V b9) They both make sense in the context of both motifs.
I've read that John Williams would write a little tune/melody/fragment/motif/chord sequence every day, to keep exploring ideas and potential for bringing ideas together. So I believe he has a whole bank of musical ideas he has built up over decades, ideas that he can simply retrieve when the moment suits. And when you consider his prodigious output in film scores alone, I can't help wonder if he's already 'written' so many memorable musical motifs and melodies, that he was simply waiting for the right film to put them in!!!
I heard similar things that he starts his day by writing. Considering he is now "retiring" from film scoring to focus on composing concert works, we may get to hear some of those melodies
Imagine reading that "Object in the mirror are closer than they appear" while seeing a giant ass dinosaur in it :D I think I would have crapped my pants :D
Actually, I wasn't sure if this was composed last or what, but a story from James Thatcher (who played the solo) mentioned it was at least the last thing recorded that day. Everything fits too perfectly for this to not be written like this on purpose
I think it’s clearly a statement of the main thematic idea from which all the other musical ideas are developed. Think Beethoven’s Fifth, first mvt as model.
Here is The Answer…Cuz John Williams, Jerry Goldsmith, and John Barry…we’re Old School…There Was Film Version of Their …AND…There were Concert Version of Their Film Scores. The Albums/CD’s released ..What was in the Film..Usually didn’t make the cut to the Album Release..The 1978 Album Release of Superman..Didn’t have Jonathan’s Death, Helicopter Sequence, Flying to Lois Penthouse, To Lex Luther’s Lair, and on and on…Jaws Album had Longer versions of Tourist on the Menu and Out To Sea..We’re as..they were only a minute if that..in the Film.
The thematic material used to convey suspense/fear even when the movie is calm is a John Williams classic. Almost every movie score they have created has these sort of ominous thematic concepts. to me its almost like Bernsteins lick. Not an intentionally repititious idea but one that naturally exists. Thats why it seems a little more hidden away in titles like this one, it wasnt intentionally doing something that is iconic to John Williams, it just is something iconic made by John Williams which makes it likely a theme like this will be present
That's a theme/jingle Marc Papeghin wrote for me, and the first 4 notes changed to the Jurassic Park solo. National Geographic was never a thought, but i can kinda hear what you are though
When composers write for a film, they write more than they need to. For example, Rachel's Song doesn't appear in the actual Blade Runner, yet is in the soundtrack CD. When it comes to visual stuff, there is a clip from the Rogue One trailer that doesn't appear in the final film. I imagine John Williams composed this at some point for the film, later didn't have any use for it, but having composed and performed it, saw fit for it to go on the soundtrack CD. Sort of.
How so? If it was one of the wacky arrangements (I wont list names) I can understand as the horn part is nothing like the original, but the original part is pretty fun
@@AndrewMerideth i knew i should’ve clarified; it sounded horrendous because we were sight reading the piece and i was very new to horn. (There were As above the staff and i had started playing 3 months earlier)
How could I recognize this theme from "Jurassic Park" when it's not in Jurassic Park at all and I've never even heard it before? And I love that movie, and I love music. What hope do "most people" have?
It's on the soundtrack under the title "Theme from Jurassic Park" and if you go to a symphony concert or look on RUclips for anyone's recording under that name, you'll most likely hear that solo at the beginning
Andrew Merideth: Here is a complex explanation of your reasoning for the structure of the music you created. Is that what guided you? John Williams: I just like how it sounds.
Of course they are related! You have proved it so! “Wagnerian” use of motifs, etc., by Williams! Also, this sinister mirror of the “reflectively” (Andante) horn motif of the Jurassic Park Theme appears as the closing subject of the whole soundtrack at the end of “Welcome to Jurassic Park (soundtrack version)” and “End Credits”, where it “resolves” to a dissonant chord.
At least the connection of what the “presentation” of the Main Movie Theme is, at least in soundtrack “album release” terms, and the closing of those two other musical pieces I mention, forms a kind of “circle”.
The first 3 notes are in a scene later in the movie when the trio are asleep in the tree, but not all 4 notes anywhere in the film. It is in at least one of the Jurassic World movies, but my focus here was just on the first one
It's tempting to (over)analyze JW's writing, but I think the only real connection between these four notes and the four notes for the carnivores is... they're four notes. Not to say that's necessarily a coincidence; he wrote a new four-note motif for the second film, as did Davis for the third and Giacchino for the fourth. It's definitely become a thing with this franchise. But ultimately I think Williams was just looking to write a less ominous intro for the album track, so he riffed off of a brief horn solo from the score proper and created this glorious musical "sunrise" that's become so iconic for fans of movie music.
oh absolutely! but i try to find clues as to what might actually tie everything together that he might have done subconsciously. it's fun to theorize about, but you are absolutely correct
Interesting analysis Andrew - and I think your ideas have a lot of merit, great work! It would be interesting to know where this horn solo was originally supposed to feature, if anywhere. Williams is a master of this stuff, so like you I certainly think it was no accident. I think this motif beautifully sums up the central theme of the movie - it's wondrous, but also tentative, a nice partner to the menace and violence of the other four note motif. I also think the inclusion of the direction "echo" suggests a call and answer feel to the solo - which makes me think of the Brachiosaurs scene in the treetops, where (if memory serves me correctly) one of them calls and then there is an answer. It certainly always felt to me it had that sensibility about it. I had never noticed that this never features in the actual film! The wonderful and weird world of music editing for movies! It reminds me of the time I got the soundtrack for The Fellowship of the Ring about a week or so before the film came out. I absolutely loved the first track, called "The Prophecy", and was excited to hear it in the film. It was never there!
I'm pretty confident that it wasn't intended for the film at all. As far as I know, John Williams was mostly left on his own to score this film while Schindler's List was being shot. But there are examples of music changes, like the raptor attack I showed here as well as the T-Rex appearance at the end (they should have called that cue "T-Rexcue" for the puns). For your comment about the echo, that makes a lot of sense and probably why that was there, good catch. I'm honestly too afraid to dive into and analyze the LOTR movies. Seriously, with the amount of things John Williams puts into movies like Jurassic Park in I think it was 4 weeks. Imaging what a composer like Howard Shore can do with years of time! There is a book by Doug Adams that's over 400 pages about the music of the film. For your comment though, my guess is that it would be part of the opening scene by the name, maybe just in the extended version?
It's just the title of the film: ju - ras - sic - park. JW's music tends to have a sense of wordplay. Like in the Raider's March: in - di - anaaaa - doc - ter - jones - in - di - anaaaa - in - di - a - na - jones.
I've heard this theory before and thought about making a video about it. I dont think thats how JW wrote the themes, but it's not far off from my theory here in terms of evidence supporting it
It’s a combination of all the elements of the score, written based on a cue later in the film (something I forgot to include in the video) and specifically written for the soundtrack and public performances
I actually just performed this movie live a few weeks ago, and those first two bars are not at the start. there is a cue later on that has the first 3 notes (see my part two) but that's it
Honestly, I think you’re getting too caught up in the notes! My opinion is that the horn solo is meant to evoke the Island’s motif which can be heard clearly stated in the trumpet fanfare in the track (and scene) named « Journey to the island » as the mountainous flank of it is first revealed to the viewer as well as the protagonists of the story. What I’m trying to say is that what matters is that they are two sets of relatively wide and rising intervals and the notes are chosen to give a metaphorical idea rather than to spell out a theme note by note. I think you are right to say that it is also related to the danger themes through the movie - one of the main tenants of Jurassic Park is that we, humans, tend to toy with nature in very extreme ways that are bound to backfire for the purely greedy reason of capital gain. I believe that Mr.Williams intended to give a personality, moods, a living breath to the environment that the carachters were evolving in, and that that is why he chose to give it such a defining yet incredibly flexible snippet of a melody. That way, although you are seeing dinosaures attacking humans on the screen, you are sonically reminded that they are part of this entity that was once introduced as a wonderful, magical, optimistic venture, now turned into a hellish nightmare - the motif is inverted on it’s second half. Same goes for the horn fanfare in « the Dinosaure theme », an affirmation of the amazement of seeing a dinosaure brought back to life and grazing freely at the leaves of a tree. Genius work, that’s all. To enter speculation about the horn solo itself, Mr. Williams likely understood how his hymn like theme for the movie would affect the audience and was probably foreseeing it working as a stand alone piece on a CD as well as in concert halls. The only problem is that the horn fanfare comes in at the end a bit randomly if not exposed earlier, and since it is a quite important theme of the movie, it would do no harm to add it as a brief introduction to the piece. In my opinion, he simply chose to do so ambiguously. Major 4th followed by Major 7th - vaguely and mysteriously, no real key in sight’ played on a single horn evoking the solitude, apprehension, spirituality and mystery one feels when witnessing the greatness of the natural world. Might have gone a bit poetic, but I stand by it! Nice video, thanks!
This is a fantastic comment, thank you. I don’t necessarily agree with everything (like the comparison to the trumpet fanfare) but that’s okay. I’m thinking about making a part 2 to this that addresses a lot of these comments. So many things I didn’t think about and different ways to look at it. It’s all wonderful and I’m very appreciative of it
It could be. I think David W Collins said something similar on the Soundtrack Show podcast. I personally dont see it that way, but there is an argument for it
@@AndrewMerideth I think it works thematically as well, since it's hinted at strongest in the first Brachiasaur scene, when the characters realize that Hammond has revived dinosaurs.
you are referring to the predator motif that I show 1:33 is at the start and end of the film. Id fully agree with you if this horn solo was at the beginning of the film
It’s not in the movie?… How is this possible… Because I hear it clearly, in my memory played as a solo twice, then on the third time the final note is harmonized. No? Am I having another stroke?
Don't buy it. Saying that themes are related because they have one interval in common makes every theme related. As another commenter has pointed out, the three first notes of the motif actually appear in a scene. Most likely Williams intended for it to show up several places in the movie, but had to or chose to cut it.
Very possible. This is just a theory I had and thought it made sense that different elements would line up. I’ve no issues with anyone disagreeing with me
@@AndrewMerideth In Star Wars Jedi Steps there is a similar motif, maybe its just John Williams doin' his thing, who knows. Note, strings are playing it, so it isn't a "horn solo."
Part 2 adding new information and responding to comments: ruclips.net/video/mmmuaLqk7N0/видео.html
This solo almost exists in the film, we hear a snippet of it right when the Brachiosaur makes its appearance as Grant, Tim and Lex are waking up in the tree. It really does work as an inverse to the predator motif.
I should have included that scene. It is correct on the first 3 notes, just missing that octave slur
I've seen JP maybe a hundred times and never noticed that four note danger motif that Williams used throughout the movie, but once you hear it, you can't miss it.
He's the GOAT for a reason
It's ALL OVER the place, and I'm with you, I had NO idea it was there until I sat down to really analyze the score
If you ever see the video of John Williams conducting the theme to Jurassic Park with, he Vienna Philharmonic, you’ll see him close his eyes while this solo is played with a look of intense feeling. This solo is very important to Williams, and it is probably the heart of the whole composition.
I used that video as a reference in another one of mine. I agree with your thoughts
I always remember this solo from the original Jurassic Park the Ride in the 90s. It was the first thing that played as the boat ride began its descent. It made you feel like you were entering a new world. Look back at videos from that time, you'll hear it. If you compare it to the ride today, which doesn't have it, you'll definitely see how impactful it was to that experience and how it definitely supports your thesis that this horn call is the basis for the entire soundtrack.
I was just in Universal Orlando and I could have sworn I heard it there, as opposed to Universal Hollywood
Michael Giacchino uses this motif in all 3 Jurassic World scores which helps establish it too. It becomes a sort of theme for anticipation - whether thats the anticipation as we build up to a nostalgic cameo or the build up to a pivotal choice whether to set loose the dinosaurs
There is also the possibility it was meant to be in the film, but after the fact was not used. Edits and Director preference does play a part in what goet into the film. And, the possibility, which John does often, that he wanted that to be part of the soundtrack recording, even though it wasn't being used in the film, because he does think "Artistically" outside of the film. That is why on many of his soundtracks cues have a "real" ending you do'nt hear in the film.
Williams has always been fantastic about what I'd call "melodic economy." Not only do different characters/situations each get their own theme, but the content of some of those themes is related in a way that underlies the connections between the in-story entities they represent. In that way, the horn call is like an ur-motif for danger AND wonder - or wondrous danger? Dangerous wonder?
Also, the guy just loves major 7ths. A lot of iconic Williams scores have them - harmonically and/or melodically - even going back to, like, the NBC News theme and Superman. Maj7 chords just have this shimmering quality to them, and melodies with a lot of open intervals (4ths/5ths) that also pass through that 7th scale degree borrow that shimmer.
It's the "dino" motif-- not "dino" as in "short for dinosaur", but in the sense that it was used in creating the word "dinosaur."
I met the guy who played this solo in the recording and played Jurassic park with him - I could have asked him!
That's brilliant. I'm a Hornist too and I like what you just explained. I'd start learning them. Thanks
When it plays at the end of the end titles, just before that one chaotic chord, it gives me the tingles.
I can't believe I haven't seen this video yet, cause I've been obsessed with this solo for years. It seems to encapsulate the entire feeling of the score so well. I remember watching the film for the millioneth time looking for it and getting so puzzled when I realized it was not there at all (except for the scene in the tree). I was also so glad Michael Giacchino used it in the JW films.
As a trumpet and horn player, I am intrigued by the music, and as a musician I can see where you're coming from. Great video!!
John Williams has always loved the French Horn.
With his traditional approach to writing, opening with a clear leitmotif like that makes total sense
When I saw this video listed, my mind went immediately to the ending of the end credits that you mentioned. I heard this solo as the optimistic expression of that motif, and the end credits one as the ominous, lost-innocence, haven't-resolved-everything version. It's why I was appalled when I went to hear the movie in concert, and they replaced the ending with a triumphant fanfare ending. That end credits as seen in the film is one of the most powerful bits of music in the whole film.
I noticed this too, and Jurassic Park is NOT the only movie to change the music for live productions!
The major 7th interval may be considered as a half step interval spaced by nearly an octave from the tonic. That being said, John Williams did a similar theme to Jaws as the shark motif which are alternating tones between the tonic and one half step upward creating tension. This worked really well for that movie and thus would work for others.
My personal opinion. All the other similar motifs used in the movie were created before. When he needed a main theme for the record he modified the motif accordingly to have a similar orchestration to Venus from The Planets by Gustav Holst which seems to be the main inspiration for the track
ooh, interesting thoughts! I love hearing other takes. I almost want to make a second part to this video showcasing everyone's thoughts as this is very interesting to me
I don't know much about musicology, but I heard that and thought Holst. Either Venus as you say or Uranus. Venus also sounds similar to Leia's Theme.
the first 4 notes on the music sheet do resemble a Brachiosaurus
It's kind of like clarion call of trumpets when our heros jump into battle in Star Wars. You will hear those notes of 'The Force' played at key moments, as a hero speaks, dies, or performs a noble action, like throwing the Emperor off the balcony.
I like your explanation a lot and your citations of the cues. I think the solo has a relationship with the "Danger" motif that two opposing phrases of music do in regard to contrary motion. It's a common Williams technique to have one line - say the basses and cellos - descending in pitch, as another line - let's say high strings - ascend in pitch. It brings about a certain movement that plays with emotion, adrenaline, and visuals all at the same time and can be very powerful when used correctly.
Personally, I think the relationship between the opening horn motif and the "danger" motif is similar. The horn motif is majestic and religious, as it cadences right into the main "Dinosaur theme", but that Gb - or B natural when transposed - obviously sticks out in the key of Bb. I think it's sort of saying, in a literal way: "these are majestic creatures, but they're absolutely dangerous and unpredictable." Your parallels between that minor third of the horn solo and the "danger" motif play into this parallel, coupled with the contrary motion analogy. You also have the horn solo moving up for the most part: a fourth up from the root, a minor third down, and then a major seventh up. The "Danger" motif moves down entirely, except for the semitone shift between the first two notes. Here, there is a type of contrary motion, but also in raw emotion; the horn motif is majestic but reverent, while the "danger" motif takes that reverence and shows why you need it.
John Williams is hands down one of the world’s genious composers… 👏🏻👏🏻👏🏻
Ehhhh..
I think you answered your question partway thru the video where you played the "last thing we hear" in the film at the end of the credits. The opening here act as a compliment to the ending.
If it were that way in the movie, I would 100% agree with you, but considering it's not (and it's track 2 on the soundtrack) it leaves things open to other potential ideas
When I told my daughter (9) about it (she plays Oboe) she said, if you connect the notes with a line, you get the flowing tail, back and neck of a brachiosaurus. I don’t know if Williams thought of that, but if you think of „how can I visualize the shape of a brachiosaurus with notes it does not seem so far fetched
There have been a few comments exactly like that here. I’ve never heard it before but I find it fascinating and plausible
Horn Solo is the only one who can do the Kessel Run in less than 12 parsecs
Whats fascinating too is that this was written DURING the recording sessions and was the LAST thing recorded. The opening / ending of this was recorded separately to be edited around the take of "The Dinosaurs" (ie: the Brach scene). Williams had hurt his back during the sessions and a part of me wonders too if while he was sitting down, he didn't just have the idea. The Credits were also shown to have 3 different versions: the version we have, an extended version like what we have but with Choir, and a shorter version of what we have. Only one version was recorded.
It also seems 1mA Opening Titles was a late addition to the film and bumped End Credits part 1 to a day without choir which may be why the EC doesn't have choir in it anymore.
There's something in this sequence of events that makes me think Williams wanted to have another album track or possibly another option for the Credits.
So much can change in the last minute it's hard to be sure without meticulous documentation. The track "Theme to Jurassic Park" and what we typically perform is a medley of a few cues, like the Brach scene and ending sequence in the chopper I believe (I'd have to check to the movie again to be certain what cues), so it makes sense that was written last. I know the horn solo was recorded at the end of a recording session (from Jim Thatcher himself) but I'm not certain about it being the last thing recorded.
As for the credits, the Live to Projection version is also different, but that's probable just to end on a loud finish over the soft original ending
@@AndrewMerideth Exactly! We don't know everything, but based on what we do know, it does seem like there were some last minute changes with this intro/outro (ie: "3m2 Record Intro") being only sketched and being the last thing recorded for Jurassic Park makes me think it was written during the sessions (as Williams is prone to doing lol) its hard to know for certain, but knowing that they'd already kinda shuffled the sessions schedule once to incorporate "1mA Main Titles" to be on the choir day, bumping out "End Credits Part 1," It does seem like it happened post that as we have the conductor's score to that, but only a sketch for "3m2 Record Intro."
The LTP versions are interesting adaptations, like the entract and end of Prt 1, using TLW music rather fittingly actually heh
Because the horn solo is amazing. Love the foreboding terrifying music ending too.
When I hear the four note motif in the solo, the first thing I think of is the opening of the 60s Star Trek. It‘s also sounds like a mysterious version of what is played when the helicopter arrives at the island.
you proved it just with what you played at the very end and i can't believe no one's gone "i see what you did there" yet
Im sure most people have clicked off by then since I was doing typical outro type things, but I also altered my intro theme to be the notes of the horn solo as well that not one has commented about either
The use of the 7th interval for the danger theme just reminded me of the 7ths used in the measures leading up to the 11/4 bar in Rite of Spring as seen in the movie Fantasia. Granted, the 7ths in Rite of Spring are minor whereas the Jurassic Park ones are major, but it’s still pretty funny to me how dinosaurs enjoy scaring the hell out of us with their 7ths.
rehearsal 112-114 (shortly after that 11/4 bar) have major 7ths in the horns, so the theory still holds
@@AndrewMerideth oh thank heavens we have an entire interval dedicated to danger do to dinosauric threat 😌
Way back in high school I played the F Horn 2 part in an arrangement of the main theme for concert band by Johnnie Vinson. The solo was not present in the arrangement, but it certainly would've been nice; instead the arranger put the part of the tune in which the main characters arrive at the park by helicopter at the very beginning.
As a dinosaur kid and music major i love this analysis. Movie soundtracks that are written with real intention are so inspiring
Although it was not heard in Jurassic Park (1993), It was briefly heard in Jurassic World: Fallen Kingdom (2018) when Claire looks at the portrait of John Hammond in the Lockwood Estate.
Fantastic. I noticed many of the similarities you mentioned on my own, I’m glad someone made a video about this. I would also add that it’s reminiscent of the “Welcome to Jurassic Park” theme (the famous trumpet melody) with the melody’s “N” shape (up down up) spanning a Bb octave.
Bingo. I'm surprised the video author didn't at least mention this!
It's essentially a variation of the motif from "Journey to Jurassic park", is it not ? The one made of two perfect fifths.
I can see an argument for it, but I'd say no. What you are referring to is the island theme, and while there is similar motion, that's about it. There's more evidence tying that line to the dinosaur themes as well as the other evidence that I found. You could be right, only John Williams knows for certain, so it's just my opinion
That's what I always assumed too. Similar contour (a pair of ascending leaps, the 2nd one starting a step higher than the first) and two perfect 5ths (although in the horn call, the 1st one is inverted and the 2nd one is formed by the relationship between the highest notes... so maybe that's a stretch?)
@@NicholasRyanKelly good Guess. It's a nice use of it for an intro.
Very interesting analysis, it sounds logic now that you put it that way. Congrats!!
Interesting analysis. Personally, this JP horn solo intro - and the subsequent "reply" of the woodwinds - always remind me of Holst's Venus.
Can someone simply ask Mr. John Williams?
if you like melodic development like this you’ll love wagner
all i can say is, John Williams is incredible genius.
I sometimes hear a version of this horn solo played with one altered note: B-flat, G, B-nat, high B-flat (concert pitch). This makes the first interval a major-6th (as opposed to the perfect 4th we're used to) which creates more of a longing sound in my opinion.
I hear this altered version often enough, I can't imagine it's a player mistake. Anyone else?
I haven't heard it played like that before. I tried finding it somewhere with no luck. Do you have any reference recordings or anything?
That intro fanfare was fuego.
The horn is used to represent a more primitive time on earth.
You really need to polish your horn's bell to play this reflectively.
I suppose someone had to complete the Kessel Run and pay off Jabba. . . oh, wait HORN solo.
Without negating your essay, my thoughts on this are: he created the "Dinosaur theme" (or as I knew it, the "Welcome to Jurassic Park" theme), he then made it "dangerous" by making it dissonant and then you have the 4-notes motif. When he made the suite for the CD, he added that calling, which is somewhat reminiscent to his fanfare, olympic themes from the 80s and 90s, based on the "Dinosaur theme".
When my band played a version of this...YES, IT OPENED WITH THIS!
It's actually VERY COMMON for EXTENDED MUSIC on soundtracks (case and point? Did you know SpongeBob 's SWEET VICTORY is actually FOUR AND A HALF MINUTES LONG with three verses, nit one.
It's also a callback to the alien musical notes in Close Encounters (also scored by Williams)
similar motion for sure, but I'm not completely convinced it was an intended callback
@@AndrewMerideth if not a callback, a recycle. John tends to reuse elements - not nearly as much as James Horner tho 😅
@@dantehicks1979 it's a common thing in film music in general for sure. whether it's due to short timeline, temp tracks, or even accidental reference
Great analysis!
I am wondering if there are comparable themes in other major John Williams’ scores like the Superman series, Star Wars, Home Alone 1&2, Harry Potter franchise, Indiana Jones series, and so forth.
Very interesting analysis
The Horn solo is an insert recorded in order for the CD, to have the theme in a standalone track.
The original conducter's score has it named "3m2 Record Intro and Wompi ending" (which contains the horn solo, and the harp ending.)
I always wondered why this horn solo exist!
Walt Disney animated dinosaurs to Rite of Spring because it was harsh, alien, and violent. Williams’ use of dissonant major sevenths and tritones is evocative of Fantasia.
Personally I dont think Stravinsky was on Williams mind for this score, but there are a lot of emphasized 7ths in Rite of Spring, so maybe it was, even if subconciously
John Williams is known to be a fan and imitator of Stravinski, even quoting Rite of Spring in Star Wars at least once. I think a Stravinski reference is a theory that holds water
@@zachary963 Star Wars was temp tracked with it as far as I'm aware, so that would explain that one, but im not against this theory for JP
On a side note - I’ve never heard of a piccolo oboe before. More to look into ^^
what are you referring to? There is no piccolo oboe in the score
Maybe you saw this in a sketch score at some point - I can't find an instance of it in this video, but JW writes sketch scores that an orchestrator puts on the big page. If something is to be played by piccolo and oboe, he may mark that "piccolo oboe".
There is no instrument in common use that is like an oboe but higher in pitch.
@@Qermaq @TheOboeCrack It may not be in my video, but I just came across an "Eb Piccolo Oboe" in the Lost World score... New to me
@@AndrewMeridethHmm. I suppose they have to rent that.
@@AndrewMerideth you are referring to the oboe musette, ruclips.net/video/SgpYkqoFTPM/видео.html
I think the motifs are related. The harmonic motion (to me) feels like it could be
V-I-bVII-ii*
Or
V-bVII-V(or V b9)
They both make sense in the context of both motifs.
I've read that John Williams would write a little tune/melody/fragment/motif/chord sequence every day, to keep exploring ideas and potential for bringing ideas together. So I believe he has a whole bank of musical ideas he has built up over decades, ideas that he can simply retrieve when the moment suits. And when you consider his prodigious output in film scores alone, I can't help wonder if he's already 'written' so many memorable musical motifs and melodies, that he was simply waiting for the right film to put them in!!!
I heard similar things that he starts his day by writing. Considering he is now "retiring" from film scoring to focus on composing concert works, we may get to hear some of those melodies
Jurassic Park is my favourite book, movie and has my favourite soundtrack. I subbed
Imagine reading that "Object in the mirror are closer than they appear" while seeing a giant ass dinosaur in it :D I think I would have crapped my pants :D
I feel like I learned more about character themes from this video than years of research
So, as a summary, John Williams composed this horn solo last and used it to blend together and introduce most of his dinosaur related themes?
Actually, I wasn't sure if this was composed last or what, but a story from James Thatcher (who played the solo) mentioned it was at least the last thing recorded that day. Everything fits too perfectly for this to not be written like this on purpose
Agreed! By last I was meaning he wrote it after all those other themes maybe?
@@whippycream1 It's possible, but only the man himself knows for certain
I think it’s clearly a statement of the main thematic idea from which all the other musical ideas are developed. Think Beethoven’s Fifth, first mvt as model.
Here is The Answer…Cuz John Williams, Jerry Goldsmith, and John Barry…we’re Old School…There Was Film Version of Their …AND…There were Concert Version of Their Film Scores. The Albums/CD’s released ..What was in the Film..Usually didn’t make the cut to the Album Release..The 1978 Album Release of Superman..Didn’t have Jonathan’s Death, Helicopter Sequence, Flying to Lois Penthouse, To Lex Luther’s Lair, and on and on…Jaws Album had Longer versions of Tourist on the Menu and Out To Sea..We’re as..they were only a minute if that..in the Film.
Maybe he just wanted to draw a lil dino on his sheet music! (The four notes form the rough profile of a brachiosaurus, at least to my addled mind 😂)
It's the whole movie distilled into four measures.
The thematic material used to convey suspense/fear even when the movie is calm is a John Williams classic. Almost every movie score they have created has these sort of ominous thematic concepts.
to me its almost like Bernsteins lick. Not an intentionally repititious idea but one that naturally exists. Thats why it seems a little more hidden away in titles like this one, it wasnt intentionally doing something that is iconic to John Williams, it just is something iconic made by John Williams which makes it likely a theme like this will be present
I think your analysis is right, it sounds coherent at least; the use of the leitmotiv is very well known by sir John Williams!
Great content! Very well explained!
Damn you for turning the intro into National Geographic for a second. Got me expecting the National Geographic theme. :) 0:31
That's a theme/jingle Marc Papeghin wrote for me, and the first 4 notes changed to the Jurassic Park solo. National Geographic was never a thought, but i can kinda hear what you are though
Having seen the movies multiple times and have been a fan as a kid, I do not recognize that horn solo
When composers write for a film, they write more than they need to. For example, Rachel's Song doesn't appear in the actual Blade Runner, yet is in the soundtrack CD. When it comes to visual stuff, there is a clip from the Rogue One trailer that doesn't appear in the final film. I imagine John Williams composed this at some point for the film, later didn't have any use for it, but having composed and performed it, saw fit for it to go on the soundtrack CD. Sort of.
My freshman concert band had to play a jurrasic park medley for a weird final thing and the horn part was the worst thing i'd ever tried to play 🥲
How so? If it was one of the wacky arrangements (I wont list names) I can understand as the horn part is nothing like the original, but the original part is pretty fun
@@AndrewMerideth i knew i should’ve clarified; it sounded horrendous because we were sight reading the piece and i was very new to horn. (There were As above the staff and i had started playing 3 months earlier)
@@dbneptune not a problem. yeah that sounds like the original then
How could I recognize this theme from "Jurassic Park" when it's not in Jurassic Park at all and I've never even heard it before? And I love that movie, and I love music. What hope do "most people" have?
It's on the soundtrack under the title "Theme from Jurassic Park" and if you go to a symphony concert or look on RUclips for anyone's recording under that name, you'll most likely hear that solo at the beginning
@@AndrewMerideth Ah, got it. Thanks!
i think it might also be in some of the later movies ? at the very least it's definitely in a trailer for one of the newer ones
I mean… it also sounds cool as hell. Cannot overlook that reality
This has driven me crazy for a long time. That big leap in the horn part is that a major 7th ?
G flat up to F? yes, Major 7
Andrew Merideth: Here is a complex explanation of your reasoning for the structure of the music you created. Is that what guided you?
John Williams: I just like how it sounds.
I think John Williams did it just because he's him. But solid video either way!
Of course they are related! You have proved it so! “Wagnerian” use of motifs, etc., by Williams! Also, this sinister mirror of the “reflectively” (Andante) horn motif of the Jurassic Park Theme appears as the closing subject of the whole soundtrack at the end of “Welcome to Jurassic Park (soundtrack version)” and “End Credits”, where it “resolves” to a dissonant chord.
If the movie itself started with that horn solo, that would 100% be it
At least the connection of what the “presentation” of the Main Movie Theme is, at least in soundtrack “album release” terms, and the closing of those two other musical pieces I mention, forms a kind of “circle”.
Because it slaps that’s why
Plot twist: He just drew a brachiosaur with the notes
Horn Solo? Is he still frozen in Carbonite?
I thought this played doing the universal logo section or around that point? I could have sworn this line is somewhere in one of the films
The first 3 notes are in a scene later in the movie when the trio are asleep in the tree, but not all 4 notes anywhere in the film. It is in at least one of the Jurassic World movies, but my focus here was just on the first one
It's tempting to (over)analyze JW's writing, but I think the only real connection between these four notes and the four notes for the carnivores is... they're four notes. Not to say that's necessarily a coincidence; he wrote a new four-note motif for the second film, as did Davis for the third and Giacchino for the fourth. It's definitely become a thing with this franchise. But ultimately I think Williams was just looking to write a less ominous intro for the album track, so he riffed off of a brief horn solo from the score proper and created this glorious musical "sunrise" that's become so iconic for fans of movie music.
oh absolutely! but i try to find clues as to what might actually tie everything together that he might have done subconsciously. it's fun to theorize about, but you are absolutely correct
Interesting analysis Andrew - and I think your ideas have a lot of merit, great work! It would be interesting to know where this horn solo was originally supposed to feature, if anywhere. Williams is a master of this stuff, so like you I certainly think it was no accident. I think this motif beautifully sums up the central theme of the movie - it's wondrous, but also tentative, a nice partner to the menace and violence of the other four note motif.
I also think the inclusion of the direction "echo" suggests a call and answer feel to the solo - which makes me think of the Brachiosaurs scene in the treetops, where (if memory serves me correctly) one of them calls and then there is an answer. It certainly always felt to me it had that sensibility about it.
I had never noticed that this never features in the actual film! The wonderful and weird world of music editing for movies! It reminds me of the time I got the soundtrack for The Fellowship of the Ring about a week or so before the film came out. I absolutely loved the first track, called "The Prophecy", and was excited to hear it in the film. It was never there!
I'm pretty confident that it wasn't intended for the film at all. As far as I know, John Williams was mostly left on his own to score this film while Schindler's List was being shot. But there are examples of music changes, like the raptor attack I showed here as well as the T-Rex appearance at the end (they should have called that cue "T-Rexcue" for the puns). For your comment about the echo, that makes a lot of sense and probably why that was there, good catch.
I'm honestly too afraid to dive into and analyze the LOTR movies. Seriously, with the amount of things John Williams puts into movies like Jurassic Park in I think it was 4 weeks. Imaging what a composer like Howard Shore can do with years of time! There is a book by Doug Adams that's over 400 pages about the music of the film. For your comment though, my guess is that it would be part of the opening scene by the name, maybe just in the extended version?
Secretly it probably just exists because John Williams loves French horn the most. (Joke)
It's just the title of the film: ju - ras - sic - park. JW's music tends to have a sense of wordplay. Like in the Raider's March: in - di - anaaaa - doc - ter - jones - in - di - anaaaa - in - di - a - na - jones.
I've heard this theory before and thought about making a video about it. I dont think thats how JW wrote the themes, but it's not far off from my theory here in terms of evidence supporting it
Its the sound of a dinosaur waking up. Duh.
You never got around to explaining why it exists.
It’s a combination of all the elements of the score, written based on a cue later in the film (something I forgot to include in the video) and specifically written for the soundtrack and public performances
Pretty sure the first two bars are in the film at the beginning.
I actually just performed this movie live a few weeks ago, and those first two bars are not at the start. there is a cue later on that has the first 3 notes (see my part two) but that's it
@@AndrewMerideth Okay but I just remember hearing it maybe its on the soundtrack. Always wanted to know the interval was a major 7th?
Because John Williams was based and wrote well for horns. 😎
How dare you question John Williams?
I’m questioning him? I’m trying to analyze his subconscious 😂
I know the one that goes, Bflat-F, C-G, G-A-Bflat,Bflat-A-F-G-C, Bflat-A-F-G, G-A-Bflat-Bflat-C-D-D-C
Honestly, I think you’re getting too caught up in the notes! My opinion is that the horn solo is meant to evoke the Island’s motif which can be heard clearly stated in the trumpet fanfare in the track (and scene) named « Journey to the island » as the mountainous flank of it is first revealed to the viewer as well as the protagonists of the story. What I’m trying to say is that what matters is that they are two sets of relatively wide and rising intervals and the notes are chosen to give a metaphorical idea rather than to spell out a theme note by note. I think you are right to say that it is also related to the danger themes through the movie - one of the main tenants of Jurassic Park is that we, humans, tend to toy with nature in very extreme ways that are bound to backfire for the purely greedy reason of capital gain. I believe that Mr.Williams intended to give a personality, moods, a living breath to the environment that the carachters were evolving in, and that that is why he chose to give it such a defining yet incredibly flexible snippet of a melody. That way, although you are seeing dinosaures attacking humans on the screen, you are sonically reminded that they are part of this entity that was once introduced as a wonderful, magical, optimistic venture, now turned into a hellish nightmare - the motif is inverted on it’s second half. Same goes for the horn fanfare in « the Dinosaure theme », an affirmation of the amazement of seeing a dinosaure brought back to life and grazing freely at the leaves of a tree. Genius work, that’s all.
To enter speculation about the horn solo itself, Mr. Williams likely understood how his hymn like theme for the movie would affect the audience and was probably foreseeing it working as a stand alone piece on a CD as well as in concert halls. The only problem is that the horn fanfare comes in at the end a bit randomly if not exposed earlier, and since it is a quite important theme of the movie, it would do no harm to add it as a brief introduction to the piece. In my opinion, he simply chose to do so ambiguously. Major 4th followed by Major 7th - vaguely and mysteriously, no real key in sight’ played on a single horn evoking the solitude, apprehension, spirituality and mystery one feels when witnessing the greatness of the natural world.
Might have gone a bit poetic, but I stand by it! Nice video, thanks!
This is a fantastic comment, thank you. I don’t necessarily agree with everything (like the comparison to the trumpet fanfare) but that’s okay. I’m thinking about making a part 2 to this that addresses a lot of these comments. So many things I didn’t think about and different ways to look at it. It’s all wonderful and I’m very appreciative of it
It's also a sort of inversion on the Dies irae trope?
It could be. I think David W Collins said something similar on the Soundtrack Show podcast. I personally dont see it that way, but there is an argument for it
@@AndrewMerideth I think it works thematically as well, since it's hinted at strongest in the first Brachiasaur scene, when the characters realize that Hammond has revived dinosaurs.
Horn solo. Want that in star wars?
it makes me think of a brachiosaur.
This solo is completed at the very end of the film with the end credits…the first moves upward…the end moves downward
you are referring to the predator motif that I show 1:33 is at the start and end of the film. Id fully agree with you if this horn solo was at the beginning of the film
It’s not in the movie?… How is this possible… Because I hear it clearly, in my memory played as a solo twice, then on the third time the final note is harmonized. No? Am I having another stroke?
Only on the soundtrack like that, seriously. That’s what lead me to research this
Don't buy it. Saying that themes are related because they have one interval in common makes every theme related. As another commenter has pointed out, the three first notes of the motif actually appear in a scene. Most likely Williams intended for it to show up several places in the movie, but had to or chose to cut it.
Very possible. This is just a theory I had and thought it made sense that different elements would line up. I’ve no issues with anyone disagreeing with me
This was in star wars as well I think.
do you know where? I'm not aware of any spots with this solo
@@AndrewMerideth ruclips.net/video/cUBUlKgsNK8/видео.html Near the start, its slightly lower and played by strings.
@@AndrewMerideth In Star Wars Jedi Steps there is a similar motif, maybe its just John Williams doin' his thing, who knows. Note, strings are playing it, so it isn't a "horn solo."
ruclips.net/video/cUBUlKgsNK8/видео.html
@@person7587 OH! that's REALLY close, yeah. 3rd note is a 1/2 step too high, but the other 3 are spot on correct