You should do "Anakin Crawling" for the next one! It's honestly one of John Williams's most insane songs. Not in terms of speed and intensity, but in the theory, how he pieces the song together, and making atonality sound so amazing. Fun piece to listen to. Very eerie.
Wow! This particular John Williams cue was new to me and your analysis really speaks to how I understand & parse music -- especially when writing out my own works. (Studied theory in high school & college, but have been on autodidactic autopilot ever since, lol.) I really appreciate the economy if you will of Bernard Herrmann's work, but your detailed analyses make the relatively more-complicated Williams' cues so much easier to tackle! Subscribed! :)
This and many other Williams writings and compositions is enough to build synapsis into any brain. 2nd favorite theme. 2nd to only Miriam’s love theme.
I think Herbert Spencer was beginning to get ill around this time. John Neufeld also started putting his clarinet down to take on more and more cues. Courage used to be called in when they really fell behind.
Yes, Spencer orchestrated only a handful of cues on Indy 3. Most of the work was done by John Neufeld and Sandy Courage, with assistance from Pat Hollenbeck (who was part of the team of arrangers for the Pops during the Williams years)
Those trills at 238 are missing the picc on top, trilling Bb to C. Spelled top to bottom (and ignoring the flutes 8va), that chord they're trilling on is the first four notes of the chase theme. :D
5:28 section reminiscent of Prokofiev's Romeo and Juliet, ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-gm4J-yKC0JE.html, as well as 'The Fight' ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-ORjjFcOJkLs.html
3 года назад
5:30 There's no way that can be D major. I would even say that it is G major (not lydian), and the C# notes there are just either chromatic passing notes or part of A7 which works as a secondary dominant V7/V. A7-D is not a perfect cadence, it is a half cadence that finishes the first half of the theme.