This, along with a short one from The Empire Strikes Back (Dagobah, when Yoda lifts the X-wing out of the water), is my favorite music cue of all time.
I agree with you on those two, have you ever heard the score for the movie Ladyhawke? When they almost touch at sunrise- The Transformation, has that same exact feel. The melody when the oboe plays. All of them have a feeling of expectant joy and possibilities.
Wonderful analysis of this piece. Thanks so much for covering it expertly here. I daresay the Krypton Theme is underrated. For me, it rivals both in spirit and effect Strauss' _Also Sprach Zarathustra_ used for the opening of _2001: A Space Odyssey._ You can almost listen to them back-to-back, as both are in the key of C-Major I believe, and start at the same place at 0:16. Then the final three measures being pretty much identical, the "triumphant reveal" as it were. But it's the "getting to" this final point that makes the William's piece so good, and worthy of respect.
The producer Ilya Salkind has a DVD commentary where he describes asking Williams to emulate the musical effect of 2001: A Space Odyssey in this cue, so definitely modeled after Strauss
![Man of Steel - Krypton [Part 4]](http://i.ytimg.com/vi/m0N8mN_0xlw/mqdefault.jpg)
This, along with a short one from The Empire Strikes Back (Dagobah, when Yoda lifts the X-wing out of the water), is my favorite music cue of all time.
I agree with you on those two, have you ever heard the score for the movie Ladyhawke? When they almost touch at sunrise- The Transformation, has that same exact feel. The melody when the oboe plays. All of them have a feeling of expectant joy and possibilities.
Wonderful analysis of this piece. Thanks so much for covering it expertly here. I daresay the Krypton Theme is underrated. For me, it rivals both in spirit and effect Strauss' _Also Sprach Zarathustra_ used for the opening of _2001: A Space Odyssey._ You can almost listen to them back-to-back, as both are in the key of C-Major I believe, and start at the same place at 0:16. Then the final three measures being pretty much identical, the "triumphant reveal" as it were. But it's the "getting to" this final point that makes the William's piece so good, and worthy of respect.
Surely this scene was temped with Also Sprach Zarathustra, the similarity of the ending is definitely apparent.
I've just discovered your channel and its great❤
Seems to me that the final IV-V-I progression as written is paraphrasing from the opening of Also Sprach Zarathustra.
I've always assumed that ASZ was the temp music here. Were it not for having original music for film it's hard to imagine anything else.
This is much more glorious.
@@TimBouletteI always assumed the same.
The producer Ilya Salkind has a DVD commentary where he describes asking Williams to emulate the musical effect of 2001: A Space Odyssey in this cue, so definitely modeled after Strauss
Thank you for this! I have been trying to sound it out for a couple years now but keep losing my scrap paper.
Great Work! I love all of your videos! Question: Do you transcribe these all by ear or reduce them from a score or both?
@@compizard3629 I will always specify in the video if something is transcribed, otherwise it’s reduced from the score.
Never heard this before, so simple yet so effective.
By the way, what's the outro piece? Sounds amazing.
The finale of Close Encounters of the Third Kind
@@jimjware Thanks!