"The Immolation Scene" - Star Wars III Revenge of the Sith (Score Reduction & Analysis) 

until Return of the Jedi

It's definitely Dies Irae, the Revenge of the Sith score is littered with it everywhere.

maximilian lindinger I totally agree. Everytime someone else wins it's because of popularity more than musical complexity or memorability. Every Williams score is incredible and very complex. Then again it would be unfair for the rest of the competition I guess.

​@@G-0how??? They need a standard to rise to right? So music In films can be better. I agree with you on everything else though. John Williams does amazing work.

Empire and original?

Me too odisseu me too but very sad😢

Revenge of the Sith has the best soundtrack IMO. I love the drama, choirs, and orchestra.

Its my second fav behind Empire Strikes Back. I didn’t think a new hope deserved a high.

Hi there! I know your comment is a year old, but in case you still want to know, if you space out the words it's "D omit 3", which means to omit, or leave out, the 3rd of the chord. Usually you'd see it written like "Dmaj7 (omit 3)". So if you see that, you'd play D, A, and C#, but no F#

fatearrah calloway It isn't the dorian mode. It's secondary dominants.

1bol1 If it we’re secondary dominants the harmony underneath would be different. The melody is using the Dorian (raised 6th) to modulate

@@iWentToNam The raised 6th is in the melody, but Dorian has a minor 7th and that doesn't account for G#. That G# is in the bass, so it's important for chord definition and it throws Dorian off. I think what Williams is really doing is just using parsimonious voice leading to change keys here. In neo-riemannian terms, look at it as a G# augmented triad (or one of its equal inversions) that voice leads its G# and C each down a half step to the Em. The rising melody at F# is just leading the half step up to G (the 5 of the Em). Why it feels like a secondary dominant in function is because the G# is resolving down a half step to the 3 of Em, and the melody line is resolving up a half step aiming for the same note, similar to how a dominant chord resolves its tritonal stress down and up a half step (the 7->3 and 3->1). The late Romantics used augmented chords like this a lot. You can use augmented chords to hop anywhere quickly, and you can voice lead a bunch of half steps to resolve tension like a dominant chord without even thinking about "functional harmony" rules.

@@matthewwidener9997 Thanks for your reply! Love your insight here. I was merely referring to the use of the raised 6th (F# in the A minor chord, C# in the Em chord) Love how such a simple use of melodic manipulation allows Williams to climb up in 5ths. I personally think the dissonance caused by the G# and then later the A# etc. exists for that dominant (F#/Em for example) feel which simultaneously creates a strong dissonance which is both resolved by voice leading and a strong almost perfect cadence function.

Nico Robledo Not from a jedi

It did. Clearly you weren't paying it the attention it deserved.