I find that absolutely staggering! It moved me to tears actually. Just incredible. John Williams at his absolute best. Not just the greatest film composer but I would say that that piece was at least as good as anything that, say, Sibelius ever wrote.
There are moments that reminded me of Barber and Hanson. I wonder if there's a common harmonic language being used that is also shared among American composers.
One question: the first time the Arlington theme appears, you denote the chord as Amin with a flat 6. But wouldn't it make more sense as a Fmajor in first inversion with the seventh?
Good question! Indeed I debated on how to mark this chord, because yes the chord is technically an Fmaj7 in 1st inversion. But the surrounding tonal environment is much more A minor-ish (all of its subsequent appearances also appear within a minor-mode context), and to my ear, the chord just sounded more like it was functioning as some type of A minor chord than it did an F major chord. At the end of the day though, it definitely serves to increase harmonic ambiguity regardless of its label. Of course, that’s just my interpretation and is certainly up to you how you view it! Thanks for your question!
@@DavidMcCaulley I hear it as the F maj7 set up by the dominant prep of the C in the opening measures. The third in the bass gives all the ambiguity and drives the phrase forward. When he finally settles on A minor in the 6th bar of the theme, it is with the major seventh added, and the fourth beat has a first inversion A Mm chord to heighten the ambiguity of the tonality. Also, to my ear, that first measure sounds like a netherworld 1890's progression, I-flat VI-I, but with the I in first inversion. Whatever the case, Williams has gotten a lot of mileage out of using the third of a chord in the bass. For example the minor third below a major triad--like E-flat below C.
Another great analysis, filled to the brim with useful knowledge. Speaking of historical movies that Williams scored: would you consider analysing some cues from Stone's 1995 "Nixon"?
I never thought I'd see this on your channel. I love your content so much, not the least of which is because you seem laser-focused on all the stuff I'm most enthralled by, and here you are, tackling one of the best traditionally-orchestrated soundtracks since Lord of the Rings! Thank you for doing this.
I saw that in the cinema. One of the most uplifting and awe inspiring movie moments I ever experienced. The score and the movie are perfectly cut together, Horner at the peak of his powers.
Also one of the main structural influences is Bartok's Music for Strings, Percussion and Celeste Mvt 3 which was a popular temp score in those days. First 5 notes are identical: C A Bb Eb D... ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-QElT9KD4uX8.htmlsi=Iqp8stY5MZAApSKl&t=1127
7:22 - Just want to add the "Radek" motif is added right at the end where the re-take-off is successful, musically signalling a victory for the villain. Great analysis, and worthy. In hindsight the score was one of the things that came together to elevate the material. Very well done.
1:47 - the chord progression passage from here for the next 45 seconds is just so, so good. Honestly, for me, one of the greatest superhero openings ever. It rivals Batman (1989) and Superman (1978). Tonally, it's almost like a blend between the two.
You know it's good when it tells the story even _without_ the visuals. God, what a peak in American cinema. Newman's brilliant score with that film. Thanks so much for highlighting it David. Of course, I've seen the film a million times, but never truly appreciated what was done here.
The beginning is not really "atonal". There are some chomatic runs in thirds over a pedal point in a. This does not sound really stable and there is no such thing as a cadence but is is not "atonal" in the sence of the 20th century. For me this looks more like distance harmonic. Lots of Ideas in the Empire Strikes back score seems to be inspired by Messian's Turangalia symphony. if you want to haer atonal music you should listen to Schönberg... or the "bloody kiss" in Richard Strauß Opera "Salome"
Hats off to the LA studio musicians that performed this. The best of the best of the best, and it shows. Honestly the score and the playing to me overshadows the movie.
ALMOST as good as the orchestra. In fact, the chimes as the lid is falling back is even better. I understand now why film and TV are moving away from hiring an expensive orchestra. Fantastic job!
This, along with bradfrey's channel, are my two go-to channels for learning more about music theory and composition. I'm going into college this Fall for Music Education and all of these videos help me grasp different concepts so well. I'm a very independent and hands-on learner, so being able to check out any video from this channel, take in the information, take notes on these scores, and apply it to my own stuff is extremely helpful. These channels don't get enough views and support.
I love the bit where Jack falls into the vat of chemicals. Batman shouldn't have even bothered trying to save him after Jack shot at him. Danny Elfman knows how to score scenes perfectly..❤❤❤
