This music and this movie are gold. Thanks a lot. The video last notes are from the tree stump scene. A bit of Bach, a bit of Handel..and a lot of Young, the old genius...
Over a year without a video, I'm having trouble getting the full scores I'd like to do on the channel so the delays are long, but I'll try to be more regular ! Short video to celebrate 500 subscribers ! (Yes, very late) Enjoy !
I have loved this track since 1981. I love the pizzicato. This is amongst my many favourite John Williams tracks from Raiders, JAWS, STAR WARS and TESB. THANKS FOR POSTING.
Great analysis of some great music, and wonderful to see it scored and orchestrated. I really like the comments you make on the thematic material as well. It's also interesting to me how the music in films is often *slightly* different that what gets recorded on the "original motion picture soundtrack" sold to the public. For example, the "brutal cut" you note at 1:58 in the video is not on the soundtrack recording - the "father-son" theme is extended a bit, and the modulation/transition to the raider's march is much smoother and more natural sounding. I assume it's cut that way in the film for time/timing purposes. I've noticed several spots on various soundtracks that are like that.
Yes, you're right, we can't know 100% of the reasons for the tracks cuts, or even who imposed them, but it's interesting to theorize. Thanks for your comment !
It's great to see a reduction of this cue! I referenced parts of this track in a recent video, and that introduction to the B Theme has stuck with me recently. So I'm glad to be able to see a clear reduction of it here.
@@musicscoreexchange I’m currently working on my video about Marion’s Theme. It’s been more difficult to write than the video on Indy’s Theme, but I’m pushing forward with it now. I usually post updates on my community tab. Thanks for asking!
Would you be able to do a score reduction of The Austrian Way scene from Indiana Jones and The Last Crusade? Maybe it was at the direction of Spielberg himself, but for whatever reason there was never even a misleading “love” theme for Elsa and Indy or even a classic Hollywood Lauren Bacall/Ingrid Bergman type theme for Elsa herself, except for that scene which has the briefest of “romance” motifs when Elsa kisses Indy (it reminds me of Lacy’s Theme which Williams composed for Superman IV a couple years before The Last Crusade, it is similarly saxophone-centric). It’s a shame it wasn’t used and expanded upon a little more to make her feel even more like an Indy lady (which would have lent itself to the reveal that she’s working for the Naz1s and then her regretting it later on could’ve seen the theme take on a more ironic and tragic tone). I know not every character has a theme in Indiana Jones and that would be asking too much of John Williams, but most of them at least have stripped motific ideas or even rhythmic representations, but each lady does have a theme whether they are a love interest or not; Marion, Willie, Irina, and now Helena, I just wish Elsa’s little motif could’ve been expanded upon to add to that group of themes (complete side note, but more than new music from Williams I’ve always wanted him to revisit Willie’s Theme and give her them a proper concert arrangement like Marion and if he revisited that little Elsa moment and turned it into a proper concert theme as well. Plus ever since I found out he composed a concrete theme for Padmé in The Phantom Menace that Lucas seemingly asked him not to use, I’ve been dying for that to get a release even just as a standalone concert arrangement to be enjoyed regardless of its absence from the film).
Thanks for the suggestion, this track was on my list as number 1 for the last crusade, I love it. It's true for Elsa, I think Williams didn't give her a theme in the sense that she's with the bad guys (who have a motive) for a good part of the movie. Thanks for your comment !
1:15 this is the sixth ajoutte chord, one of the most important chords of the styles that influence this music. Not just "dm". Also the minor half cadence is key to be identified there. The parallel fifths are everywhere, this is not so important. 1:44 Here is an Fm/ab chord, or Fm6 . It is the subdominte of C, not major subdominant parallel what we hear. The Gm6 later is completely wrong, because we have a clear Gm. And so on. Resume: this needs a revision ; )
This reminds me of the score from planet of the apes the original movie made in the sixties Particularly the 1st half of the movie when they are wandering on a desert planet and see human beings in the water for the 1st time and then are chased by the gorillaz on horseback
