Very nice work. BTW, about that final shot at 2:07 and your note about the force theme being extended to match the cut to the credits-according to editor Ben Rosenblatt, it was actually the other way around! The aerial shot wasn't originally included and only added because it fit Williams' music. www.hollywoodreporter.com/behind-screen/star-wars-producer-dishes-films-867387
Interesting! Thank you for the link! It's sometimes hard to just speculate why certain decisions were made, so it's nice to hear it straight from the source in this case.
I always thought this wasn't well-edited - the helicopter shot was out of rhythm with every other shot and they held on Luke and Rey for too long. It works best when you start this sequence 7 seconds into the song (to cut to credits on Luke) or 12 seconds into the song (to cut to credits on Rey).
@@bradfrey very late to the party on this one, but it's always surprised me that Williams didn't use the segue he wrote for Revenge of the Sith for this film - both films end on the force theme before the credits fanfare. The Force Awakens segue always felt clunky and the scene holds too long on Rey and Luke as it is. It baffles me as to why they would elongate it even further with the goofy aerial shot. Williams' ROTS segue is much quicker and tidier, I think, but this version has that more grand 'I've-come-home'-ness that they might've been looking for. One of my favourite parts of listening to the score of each new film is always listening to how Williams decides to segue into the credits fanfare. It's always so different and original and yet feels so natural and like a massive release, because we all know it's coming.
"The Jedi steps" is my favorite piece from The Force Awakens, I really love this new theme wich will probably symbolise the relation between Rey and Luke ! For me, the wonderfull climax of this scene is the ominous apparition of the horns at 1:03, exactly when Luke appears on the screen. Because of the 2 triads Gm and Ebm, wich John Williams created for the Imperial march and wich became THE triads of the evil, I suspect that Luke went to the Darkside of the Force. And the Force theme when Rey holds the lightsaber shows that now, she is the representative of the Force and the Jedi, unlike Luke. I love your channel because it's exactly that I look for in the film music analysis, and all the music you analyze is the film music that I love (John Williams is just a genius that I looove !!). (I'm sorry if you don't understand, I'm french and I don't speak english very well)
I think Mark Hammil should direct a couple of Star Wars spin-offs. This guy is a legend who likely has stories lined up in his head that would bring audiences coming in droves to see the films. I know I would. Great to see this analysis. Thanks!
I just randonly wanted to out some of the melodys in Sibelius and the part at 1:03 - 1:07 in sibelius it has a random eight note in the measure and it sounds faster than it does on your version.
Thanks ruboc! The orchestral suite of the Force Awakens score is available for purchase from Alexander Publishing, which is where all of this comes from. I don't think the entire score is available yet.
At measures 16 and 17, the rhythm of the bass clef top part is impossible. A dotted eighth note and a sixteenth note do not add up to a full beat in 12/8. It should be a dotted eighth note tied to a dotted sixteenth and another dotted sixteenth, then the other three beats are represented by the dotted half and quarter notes.
Not to take anything away from John Williams, but the Jedi Steps theme appears to be inspired by the opening notes of Saint-Saens Introduction and Rondo Capriccioso... especially at 20 seconds into this clip....
Check out JJay Berthume's channel if you haven't discovered him already. He has a few videos on John Williams style of composition and he recently started a series, called "How to Write Like John Williams", that goes into in-depth analysis of William's scores.
Sure. Listen to Tchaikovsky and John Phillip Sousa. The texture, chord movement, melody of Tchaikovsky and the rhythmic modes in Sousa's marches. Thats pretty much John Williams. Course, then Id have to turn around and justify this oversimplification by saying... Now you do it! ;) lol
Analyzing another persons score will not enable you to write like that composer. Guess its the promise of it is good for running a youtube channel though.
Icbeoaneistari it was tough. I found some really good solutions, most notably my opening statement and then Luke's reveal. But everything else was a little less good. I tried uploading it to RUclips but I got it taken down by copyright. I can share the Dropbox of it later today if I remember. Just comment again to remind me and I'll share it tonight.
He still gave me an A hahaha. The last 6 or 7 seconds were SUPER CHEESY just so you know... I tried to make it sound like it had that swirling effect but then it turned out to sound like superman a bit...
www.dropbox.com/s/7g4rrwm13s8v5b5/Force%20ending%20-%20post%20tonal%20final%20project.mp4?dl=0 This is a link to the video on dropbox if you would like to listen. I had to make use of some post-tonal techniques for the class. And disclaimer... the samples are TERRIBLE... and the timpani roll at the end is so messed up from the sample.
Ill be honest. You can sense the relationship between Abrams and Williams was not a good one. Im sure it was amicable. But you can tell that Lucas and Williams and Spielberg and Williams had a really good relationship. You can tell the freedom a composer feels from a director by comparing other works. I dont think Williams enjoyed dealing with Abrams and I also think Abrams has an agenda all of his own. He ultimately wants to use Giacchio or whatever his name is. I cant remember the guys name. I actually never noticed the Imperial Variation with the Force Them as Rey approaches Luke there. Thats interesting. I looked right over that. Think that tells us that Luke is in a dark place.
I'd think that Williams' relationship with Abrams on Star Wars is better than his relationship with Lucas on the Star Wars prequels. Lucas completely butchered the scores on Episode II and III during the editing process to the point where Williams just gave up on scoring certain scenes on the last one. On TFA, Williams had a luxurious schedule of spread-out sessions. The score as a whole feels much more unified compared to that of later prequels.
Lucas did no such thing and if you want proof there is plenty of behind the scenes material that shows Lucas and Williams getting along very well throughout the scoring of all 3 of the prequels.
Adervae - Dude? The score is the last thing that happens. There were no 'editing' issues in the prequels. Those scores are heads and shoulders above the pad score of TFA. And why do you sound like a bad salesman? Williams had a 'luxurious' schedule? What the hell does that even mean? Williams was sick when he scored TFA. Idiot. You have no clue what youre talking about.
Adervae - Dude, the music is the last thing that goes on a film! Hes actually scoring the scenes according to the final print. Thats how its done typically. Theres no cutting music. Its scored exactly as you hear it. Your problem with the prequels is that theres so much music happening your brain couldnt process it. But thats a YOU problem because mine could.
![BLACK BAG - Official Trailer [HD] - Only in Theaters March 14](http://i.ytimg.com/vi/Du0Xp8WX_7I/mqdefault.jpg)
Very nice work. BTW, about that final shot at 2:07 and your note about the force theme being extended to match the cut to the credits-according to editor Ben Rosenblatt, it was actually the other way around! The aerial shot wasn't originally included and only added because it fit Williams' music.
www.hollywoodreporter.com/behind-screen/star-wars-producer-dishes-films-867387
Interesting! Thank you for the link! It's sometimes hard to just speculate why certain decisions were made, so it's nice to hear it straight from the source in this case.
I always thought this wasn't well-edited - the helicopter shot was out of rhythm with every other shot and they held on Luke and Rey for too long.
It works best when you start this sequence 7 seconds into the song (to cut to credits on Luke) or 12 seconds into the song (to cut to credits on Rey).
@@bradfrey very late to the party on this one, but it's always surprised me that Williams didn't use the segue he wrote for Revenge of the Sith for this film - both films end on the force theme before the credits fanfare. The Force Awakens segue always felt clunky and the scene holds too long on Rey and Luke as it is. It baffles me as to why they would elongate it even further with the goofy aerial shot. Williams' ROTS segue is much quicker and tidier, I think, but this version has that more grand 'I've-come-home'-ness that they might've been looking for. One of my favourite parts of listening to the score of each new film is always listening to how Williams decides to segue into the credits fanfare. It's always so different and original and yet feels so natural and like a massive release, because we all know it's coming.
"The Jedi steps" is my favorite piece from The Force Awakens, I really love this new theme wich will probably symbolise the relation between Rey and Luke ! For me, the wonderfull climax of this scene is the ominous apparition of the horns at 1:03, exactly when Luke appears on the screen. Because of the 2 triads Gm and Ebm, wich John Williams created for the Imperial march and wich became THE triads of the evil, I suspect that Luke went to the Darkside of the Force. And the Force theme when Rey holds the lightsaber shows that now, she is the representative of the Force and the Jedi, unlike Luke.
I love your channel because it's exactly that I look for in the film music analysis, and all the music you analyze is the film music that I love (John Williams is just a genius that I looove !!).
(I'm sorry if you don't understand, I'm french and I don't speak english very well)
Honestly this would have been so cool if they had played it like that
Great work. So nice to see other fans study and appreciate what we all love so much
I think Mark Hammil should direct a couple of Star Wars spin-offs. This guy is a legend who likely has stories lined up in his head that would bring audiences coming in droves to see the films. I know I would. Great to see this analysis. Thanks!
This piece reminds me of Birth of the Twins Revenge of Sith a little. It's great how you can see all the links in JW's work.
Shouldn't that really be John Williams revealed at the end? Someone should do a spoof! :)
This piece is so EPIC.
I just randonly wanted to out some of the melodys in Sibelius and the part at 1:03 - 1:07 in sibelius it has a random eight note in the measure and it sounds faster than it does on your version.
This is really great! Thank a lot! One question: when can a get or buy original score from movies like episode 7?
Thanks ruboc! The orchestral suite of the Force Awakens score is available for purchase from Alexander Publishing, which is where all of this comes from. I don't think the entire score is available yet.
Great! Thanks for the answer, maybe you know a place where i can found another score from another films? Im interested, thanks!!!
I love these videos! Would it make a difference, if you used 4/4 instead of the 12/8 time signature at the beginning?
At measures 16 and 17, the rhythm of the bass clef top part is impossible. A dotted eighth note and a sixteenth note do not add up to a full beat in 12/8. It should be a dotted eighth note tied to a dotted sixteenth and another dotted sixteenth, then the other three beats are represented by the dotted half and quarter notes.
Not to take anything away from John Williams, but the Jedi Steps theme appears to be inspired by the opening notes of Saint-Saens Introduction and Rondo Capriccioso... especially at 20 seconds into this clip....
In the intro, the violins texture is played divisi, right ?
Yes, the violin 1 plays the top notes and the violin 2 plays the bottom notes.
It is possible to make the Final too ?
Best thing about the sequels is this theme.
Ook! [Awesome. Any chance you'd do a Battle of Yavin?]
I really would like to study how John Williams' style. I can't seem to find any info on it. Does anybody know of any resources?
Try Rick Beato's Channel!
Check out JJay Berthume's channel if you haven't discovered him already. He has a few videos on John Williams style of composition and he recently started a series, called "How to Write Like John Williams", that goes into in-depth analysis of William's scores.
Sure. Listen to Tchaikovsky and John Phillip Sousa. The texture, chord movement, melody of Tchaikovsky and the rhythmic modes in Sousa's marches. Thats pretty much John Williams. Course, then Id have to turn around and justify this oversimplification by saying... Now you do it! ;) lol
Analyzing another persons score will not enable you to write like that composer. Guess its the promise of it is good for running a youtube channel though.
I am gonna be rescoring this for my final project due in about 3 weeks. So hard to outdo John... so I need to be myself.
How did it go?
Icbeoaneistari it was tough. I found some really good solutions, most notably my opening statement and then Luke's reveal. But everything else was a little less good. I tried uploading it to RUclips but I got it taken down by copyright. I can share the Dropbox of it later today if I remember. Just comment again to remind me and I'll share it tonight.
He still gave me an A hahaha. The last 6 or 7 seconds were SUPER CHEESY just so you know... I tried to make it sound like it had that swirling effect but then it turned out to sound like superman a bit...
www.dropbox.com/s/7g4rrwm13s8v5b5/Force%20ending%20-%20post%20tonal%20final%20project.mp4?dl=0
This is a link to the video on dropbox if you would like to listen. I had to make use of some post-tonal techniques for the class. And disclaimer... the samples are TERRIBLE... and the timpani roll at the end is so messed up from the sample.
Dude your work is amazing!!! But it would be better if we could download the sheets. Thank you
His did they miss synchronizing the music's final swell with Luke's unhooding?!!! What a loss.
All that chromatic mediant movement!!!! G minor to Eb minor. So Dvorak 9... and John Williams. :D
Ill be honest. You can sense the relationship between Abrams and Williams was not a good one. Im sure it was amicable. But you can tell that Lucas and Williams and Spielberg and Williams had a really good relationship. You can tell the freedom a composer feels from a director by comparing other works. I dont think Williams enjoyed dealing with Abrams and I also think
Abrams has an agenda all of his own. He ultimately wants to use Giacchio or whatever his name is. I cant remember the guys name. I actually never noticed the Imperial Variation with the Force Them as Rey approaches Luke there. Thats interesting.
I looked right over that. Think that tells us that Luke is in a dark place.
I'd think that Williams' relationship with Abrams on Star Wars is better than his relationship with Lucas on the Star Wars prequels. Lucas completely butchered the scores on Episode II and III during the editing process to the point where Williams just gave up on scoring certain scenes on the last one. On TFA, Williams had a luxurious schedule of spread-out sessions. The score as a whole feels much more unified compared to that of later prequels.
Lucas did no such thing and if you want proof there is plenty of behind the scenes material that shows Lucas and Williams getting along very well throughout the scoring of all 3 of the prequels.
Yes, they had a good relationship, but Lucas' editing decisions are questionable.
Adervae - Dude? The score is the last thing that happens. There were no 'editing' issues in the prequels. Those scores are heads and shoulders above the pad score of TFA. And why do you sound like a bad salesman? Williams had a 'luxurious' schedule? What the hell does that even mean? Williams was sick when he scored TFA. Idiot. You have no clue what youre talking about.
Adervae - Dude, the music is the last thing that goes on a film! Hes actually scoring the scenes according to the final print. Thats how its done typically. Theres no cutting music. Its scored exactly as you hear it. Your problem with the prequels is that theres so much music happening your brain couldnt process it. But thats a YOU problem because mine could.