I was wondering about the choice of Leia's Theme and I see you've answered my question; interesting to hear John's reason for choosing it and it makes sense.
The passage beginning at bar 47, there's one more thing to say about it: Williams seems to be generating suspense and intrigue by alternating whole tone scales.
That bit starting from 0:52 to 1:20; When I played Xwing v Tie Fighter that music was always playing in the background--and when I paused the game it was quite...uh...'strident'.
From 1:56 in my own analysis I discovered that this whole section is a sequence of chromatic mediant shifts almost all of which are based on whole tone scales/Fr6ths the bass line is the key to it. Starts B whole tone then down to G# whole tone then a semitone shift to G whole tone, E whole tone, C whole tone, A octatonic then the last mediant shift to F whole tone....
The idea in 2:10 is a quite old one in the history of composing: It is imitating the bells of a cathedral. One bell starts ringing an then another starts an so on.
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I was wondering about the choice of Leia's Theme and I see you've answered my question; interesting to hear John's reason for choosing it and it makes sense.
This is the passage from the film that made me want to be a composer. It worked. JW set the bar pretttttty high.
The passage beginning at bar 47, there's one more thing to say about it: Williams seems to be generating suspense and intrigue by alternating whole tone scales.
Great work again, keep it up. Fast becoming my fave channel!
That bit starting from 0:52 to 1:20; When I played Xwing v Tie Fighter that music was always playing in the background--and when I paused the game it was quite...uh...'strident'.
From 1:56 in my own analysis I discovered that this whole section is a sequence of chromatic mediant shifts almost all of which are based on whole tone scales/Fr6ths the bass line is the key to it.
Starts B whole tone then down to G# whole tone then a semitone shift to G whole tone, E whole tone, C whole tone, A octatonic then the last mediant shift to F whole tone....
Actually when the horns play the fanfare, the trombones come in along with the violins and violas.
What a fantastically amazing track. Elongated as the Falcon leaves bay 327.
The idea in 2:10 is a quite old one in the history of composing: It is imitating the bells of a cathedral. One bell starts ringing an then another starts an so on.
anyone who has played empire at war has this stuck in their head
At m7 on beat 3 wouldn't it a Bbm/A (due to the enharmonic C#)? Great analysis!
The music @ 0:52 reminds me of the NBC news Mission theme, maybe you could do an analysis of that.
I think I might. Good suggestion!
@@DavidMcCaulley A man of your word. Epic.
If this is the actual score by Williams, I like the fact that he doesn’t put keys on the left and notates each sharp and flat in the actual score.
Pretty standard in film scoring; especially if highly chromatic - at least in the older scores as far as I can tell.
Doesn’t put keys on the left? What does that mean? Key signatures, key names? What?
@@escopiliatese3623 He's saying John kept the key signatures empty of accidentals in his scores.
How did you get the actual score from the movie
try swappano