❗️UPDATE: I had to remove the last example from this video (Rey’s Theme) due to a copyright issue. Sorry about that! I thought I should let you know to avoid any confusion.
This is incredible. I love this series-- so useful to see theory in practice. Particularly cool to see how harmonic minor is used here, since I usually just think of it as a strange-sounding scale I can't use for anything. Thanks!
@@liteoner Minor music very often has a V-i cadence. It is just stronger. It has nothing to do with harmonic minor. It is just that for your melody over the I-V chord, you have the option to use harmonic minor. But usually you would use melodic minor. For a V-i you either sacrifice the melody for harmony and get the strange exotic b6-7 interval. Or you sacrifice the harmony by getting an augmented and two diminished chords.
spiffcorgi More like: The Force theme that will appear every time something happens that has a positive impact on the balance of the force. Therefore, it will be present in the trailers as these movies also have those moments so to advertise said movie accurately, we need to musically represent some of what you can expect from the story.
'The Force Theme' is very important. As it often plays when Force is at work. It's meant to single to us the audience, that a higher power is at work guiding/controlling the events of the galaxy.
Disney's a disaster to the formally genious franchize. But what you say is true only because it was a great masterpiece. You don't just "outdate" masterpieces. That's the beauty of music for me - it's always more than what business and vanity can dictate it to be. It's mathematics of emotions, once you develope a formula, it's here to stay, it's in the world of ideas, not the world of things.
Ugh I love film score motif shit so much, and I love that you make videos like these. This level of in-depth niche analysis is exactly what UA-cam needs more of haha
Thanks for the great presentation! I have two things to add: -In Binary Sunset, the harmonic minor is introduced by D major (F sharp being the leitton). It briefly turns to some sort of regular minor with B flat major. The following E flat major can be used in both. -There is a name for the scale used in Leia's theme: harmonic major (which is major with a flat 6, so that the iv is minor)
I would think that John Williams has so thoroughly internalized modal tonality that he consciously doesn't seek to impose the modal sounds but creates scores which just happen to incorporate modal tonalities along with such things as modal interchange.
I would think that this might be true when he is just trying things on the piano, but i think he thinks alot about all the harmonies and modes actively.
Leah's theme reminds me a little of the opening bars to Wagner's Overture to Lohengrin (the 1st act), which seems to employ very similar harmonic modulations...and with equally emotive results!
Not to surprising, John Williams (like any composer really) is heavily inspired by, and builds upon, existing music. Listen to Gustav Holst's 'Mars' from the Planet Suite. You could pretty much just put that onto a Star Wars soundtrack CD and no-one would notice. Especially the bit about 4 and a half minutes in.
The Cmaj and Dmaj chords in bar 4 could be considered from G melodic minor (G A Bb C D E F#). The C can be seen to come from that and then it goes to harmonic minor for the rest. It still alludes to Dorian in sound somewhat. The yoda theme after the temporary tonic of Bm and then the Am again then implies E harmonic minor again with B7 and the D maj but without the temporary tonic, this leaves the phrygian interpretation of the Bm to Am without grounds as the tonality though the third of Am being C does allude to phrygian somewhat (b9 of Bm). You could see the D to Gm (I-iv) as Mixolydian b6 or Harmonic major (Ionian b6) Eb and Dbm both are in Eb Phrygian dom especially since it goes to Ebm afterwards and then a Bbmaj which is it's V chord secondary implying a possible pivot which then pivots back to Bb as the I.
The Yoda piece is an example of modal music, as it is a vamp interchanging two chords and then changing the character, hence the mode, of the progression. It has no harmonic movement and no cadences.
I can't believe you haven't talked about Howard Shore's Lord of the Rings theme. The brilliant way that score re-uses different leitmotifs in subtle ways is amazing!
Nice work. I'm not convinced on your Phrygian interpretation of the Am-B-D in the Yoda Theme. This section of the theme is too modulatory, with too brief touches on key areas for the A minor chord to be considered part of the B minor world. Also, I think for it to sound "phrygian", you really need to have that undeniable melodic movement of ^b3 to ^b2 to ^1 ( or vice versa). Glad to hear other folks' thoughts on it!
Josh Josh I agree with your explanation totally. While we might be using the same notes as a particular mode, modes in my opinion are best utilized or explained as “sounds” and as you said, we don’t hear a Phrygian “sound” in the melody there. Also in the first example, while it does contain notes of the G Dorian scale, the melody has no Dorian quality as it never contains the 6th scale degree (E). It’s just that we have a C major chord borrowed from the key of G major. To me, it isn’t the mode, but this brief temporary shift from G minor to G major that hits our ears to create this uplift in mood.
You need to do Laura Palmer's Theme from Twin Peaks, many good tracks on that but that one I would say is the best and the most emotive journey. The original Robocop Soundtrack too, some great tracks on there. The Isengard Theme from LOTR is good too. Also, 'Death is the Road to Awe' by Clint Mansell. Maybe The Surface Of The Sun by John Murphy too.
Brilliant analyses. Another (among so many - Dracula Main Title Theme among them) - is the Elke the cat phrase in The Towering Inferno. It's a complex symphonic gesture in its own right but is a William's brilliant throw-away in this film.
The theme for E.T. rarely stays in the same key for two consecutive bars as the character arc moves through every motion a sentient being could experience being abandoned on a strange planet.
You are gifted. I took 4 years of music theory. You were clear, concise, and very interesting. Unlike my theory teacher. I will subcribe. And please find some more rehearsal and recording videos of any of your fav composers. Thank you
I'd love a full series on John Williams, to be honest. There are just so many excellent pieces to break down, even just within the Star Wars themes (Across the Stars, Anakin's Theme, Anakin vs Obi-Wan)
James Horner would be cool to see. Love his work on Willow, Brave Heart, Avatar, Apollo 13, Land Before Time, Legends of the Fall, Troy, Jumanji and Titanic, along with so much more.
Always amazed how movie soundtrack are made, maybe anylize, Good, Bad, Ugly, soundtrack, that I look forward to, glad to be new subscriber, glad found you👍🎼
Great video! nice pacing, visual context, and I particularly thought it was original to show reharmonize part of the music to demonstrate how it would sound different if it didn't change modes.
At 5:58, you mentioned how Eb modulated to Db but I would suggest that he used Db as part of Eb Mixolydian since he goes from Eb to Db and back to Eb which is a common way to express the Mixolydian (I-VIIb-I). Just my thoughts but, other than that, you teach very well and thank you for what you are doing.
Awesome video! I will however point out though that in the "force theme" you said something a bit misleading. You said that the shift to harmonic minor is highlighted by the Eb chord. The first measure certainly establishes in natural minor, modulates to a Dorian feel at the end with the C, and uses a harmonic minor turnaround at the end with the D major chord. This is truly what establishes the "harmonic minor" feel, not the Eb. You said in the video that the Eb chord is in G harmonic minor but not G Dorian. That's true, but a bit misleading because the Eb chord is a characteristic chord of G natural minor, though not necessarily the harmonic minor (since it doesn't contain a Gb note). I'd argue that the D major chord suggests the harmonic minor modulation much more directly since it includes a Gb note in the chord, and the Eb just reinforces it since it's a really strong pull to the natural (or harmonic) minor (but not in and of itself indicative of harmonic minor). This is strengthened because the emotional apex of the theme is on the Eb chord, but that's still more of a "natural minor" chord than a harmonic minor one in the key of Gm. The harmonic minor shift is again highlighted by (again) the D chord at the end of the theme where it creates a strong and serious resolution back to Gm. Great vid all in all, I absolutely loved it and it got me thinking and playing. But I just wanted to point that out because it had me scratching my head and in case anyone else had confusion as well I just wanted to point out that the D chord is truly the chord that highlights that harmonic minor, not the Eb.
The single most iconic thing John Williams has ever written, is probably the Imperial March. Though being a March, I don't know if it uses the less common modes much. The most *emotional* thing he's ever written, is probably the flying sequence, from ET.
great video - it's always fun to sit down and analyze how different composers think. Especially the ones where we all know the themes. The funny thing is that when i first heard Rey's theme i didn't really like it. Mostly because that Dorian to Mixolydian is not something that John Williams does as often, as some other composers, which is to be honest kinda his charme - I also didn't think it was as memorable as some of his other themes. But after hearing it well 50+ times it really like it.
It's not John Williams, but a "modal modulation" I love is the closing song "Down to Earth" by Peter Gabriel from Wall-E. The verse is in Lydian, with the raised 4th used throughout the movie to signify high tech (very common in sci fi). But then he modally modulates (if that's the word) to Mixolydian, with the flat 7th so common in gospel, for the chorus. Same scale notes, but different tonal center. It's a completely appropriate and powerful switch between the sharp sci fi and the flat down to earth worlds. I've never heard this sort of move in any other piece, and it works well here.
@@jessiehermit9503 isnt what the meant, the key of the audio is different from the key of the notation. Its notated in g minor, but its playing in a flat minor
Nice illustrations. I know John Williams gets some criticism about borrowing from historical works (temp-track emulation?) but these modal shifts, modulations, and the fluid melodies they support has to be acknowledged. I also appreciate the video clips you include at the end like the scoring stage session here.
This is an amazing channel for theory nerds! I love it! Keep up the great work! PS can you analyze how billy Joel uses modes in New York State of Mind?
To be honest, you really don’t. The only time music theory comes into play is when trying to communicate with other people who know music theory. Otherwise, if you know how to play an instrument with feeling and soul and emotion, then you’re good. Knowing how to play a b7 chord is more useful than knowing that your actually playing a b7. Don’t get bogged down with all that. From one musician to another. Now for this guy, this is what he does, analyses themes using musical theory. Good video. Cheers
I've always wondered what's going on in Luke and Leia (from ROTJ) where it briefly modulates or implies a modulation into Db major at around the 2:10 mark - there's something quite evocative about it but I can't understand what is going on theoretically
Hi David! I really love your analysis! I am currently writing a paragraph analysis on The Force Theme and Leia's Theme. You're analysis really helped me! I'm just curious what app you're using, like how did you change the C major into C minor. Is there an app? I like to play around with music, but my apps aren't that good. Anyway your analysis is so great!
6:16 "the next four bars all stay diatonic to Eb minor". Sorry if this has already been addressed, and I don't mean to nitpick, but I think thosr 4 bars are in Eb dorian, no? I mean I would interpret it as Em as well, with the Bb major serving as almost a V7, which is extremely common in this type of music. Many would say it's from the "harmonic minor", but it is so common, just calling the whole phrase minor is what I would usually do. But... The only complaint here is that you call it "diatonic". Isn't that usually reserved for strict major/natural minor? Maybe I am wrong, or using it in an archaic way...anyway, great video as always!
I dont think that the use of modes here is inappropriate. These aren't "modal" but perhaps brief colors of modality can be claimed... like borrowing from the parallel key, in my opinion. (At 0:30 in the Force Theme) He probably put the IV borrowed from the major as a hint to Dorian mode as the Dorian is the war mode... kinda funny. Some of these might be easier to describe as chromatic mediants, secondary dominants and chromatic leading tones and neighbor tones, though, like the 2nd half of Yoda's Theme. I would make a bigger deal of connecting the opening Force Theme, with the last "Ray's Theme" was it? They both share the borrowed IV chord in a minor key... and could both be a hint at Dorian mode to go along with the "war" theme. That connection should be the element that ties the theme of the video together.... oh I just realized... I haven't seen the movie, but doesn't she meet up with Luke Skywalker? Isn't that a connection between the 1977 Luke on tatooine and the modern day Luke on whatever planet he is on? That's probably why the same "mode" or borrowed chord was used. Very clever Mr. Williams. :-)
I don't think they've ever really met, but I would love to be listening in a room that was hosting a conversation about songwriting between Brian Wilson and John Williams. Two different styles and different approaches, but both geniuses in the field...it'd be neat to hear what they would say.
❗️UPDATE: I had to remove the last example from this video (Rey’s Theme) due to a copyright issue. Sorry about that! I thought I should let you know to avoid any confusion.
fungus
could you add a text transcript of it on the page?
This is so deep. I never realized how much of a genius John Williams really is until I started to look at his themes
This is incredible. I love this series-- so useful to see theory in practice.
Particularly cool to see how harmonic minor is used here, since I usually just think of it as a strange-sounding scale I can't use for anything.
Thanks!
Thank you. Harmonic minor always feels 'classical' to me (Turkish March or Fur Elise or something like that). You get it a lot in pop music too.
Harmonic minor is natural minor with a major V chord. That's the basically the only practical difference.
@@liteoner Minor music very often has a V-i cadence. It is just stronger. It has nothing to do with harmonic minor. It is just that for your melody over the I-V chord, you have the option to use harmonic minor. But usually you would use melodic minor. For a V-i you either sacrifice the melody for harmony and get the strange exotic b6-7 interval. Or you sacrifice the harmony by getting an augmented and two diminished chords.
@@Prometheus4096 Harmonic minor _is_ minor, so I'm not sure what your point is.
@@liteoner I think he meant natural minor.
It’s amazing how articulately and clearly you can talk about music, whose intangible qualities are often difficult to describe in words. Nice job 👍🏼
"The Force Theme", aka "the theme we'll shove down your throats in every trailer now to trigger that juicy, juicy nostalgia"
spiffcorgi More like: The Force theme that will appear every time something happens that has a positive impact on the balance of the force. Therefore, it will be present in the trailers as these movies also have those moments so to advertise said movie accurately, we need to musically represent some of what you can expect from the story.
'The Force Theme' is very important. As it often plays when Force is at work. It's meant to single to us the audience, that a higher power is at work guiding/controlling the events of the galaxy.
Disney's a disaster to the formally genious franchize.
But what you say is true only because it was a great masterpiece. You don't just "outdate" masterpieces. That's the beauty of music for me - it's always more than what business and vanity can dictate it to be. It's mathematics of emotions, once you develope a formula, it's here to stay, it's in the world of ideas, not the world of things.
Alexey Filippenko I disagree that Disney is a disaster but you’re right about the music.
It’s very interesting that the new trailer uses Leia’s theme exclusively.
Nice music theory analysis, i opened up my theory book again, your channel inspires me!
You've got to do lord of the rings next!!!
Midnight Brewers commenting to show my approval
AGREED! and still waiting for this! Especially the "Lothlorien Theme" and "Houses of healing".
YES!
Y E S
YES PLEASE
This was so fascinating! I could watch these all day.
Ugh I love film score motif shit so much, and I love that you make videos like these. This level of in-depth niche analysis is exactly what UA-cam needs more of haha
Thanks for the great presentation! I have two things to add:
-In Binary Sunset, the harmonic minor is introduced by D major (F sharp being the leitton). It briefly turns to some sort of regular minor with B flat major. The following E flat major can be used in both.
-There is a name for the scale used in Leia's theme: harmonic major (which is major with a flat 6, so that the iv is minor)
I would think that John Williams has so thoroughly internalized modal tonality that he consciously doesn't seek to impose the modal sounds but creates scores which just happen to incorporate modal tonalities along with such things as modal interchange.
kwixotic correct
I would think that this might be true when he is just trying things on the piano, but i think he thinks alot about all the harmonies and modes actively.
HOWARD SHORE! Lord of the Rings composition analysis would be awesome!
Yes!!!
My channel got ya covered
I grew up being an admirer of John William's music. Thank you for shining more light on his work.
Here from r/musictheory, this is a brilliant video - the right amount of depth, good pace and variety while sticking to your educational theme 👍👍👍
thank you :) Glad it's working
you should get the viewers to submit their compositions, and analyse them like this, it would be so cool!
I'm a Star Wars nerd and a music theory nerd. Thank you for this David. I'm so engaged right now.
"Back down to Tatooine" Good one!👌
Very enlightening video. I have subscribed. Thank you for your very clear presentations of these most interesting insights.
Thanks for another very spot-on vlog!
I love this kind of video!
Compliments, really well done!
I've subscribed to the channel.
Very interesting and you did an excellent job explaining. Subscribed!
Awesome job! I grew up listening to his scores , so goood . Always thought he could set proper mood . Never thought it was easy as simple modes !
This was WONDERFUL! Thank you for extrapolating on this!!!!
Thank you so much for your great videos. I finally got another view onto modes because of your explanations!
Another excellent video.Thank you.
Goosebumps kicking in from the first second
the force theme gives me goosebumps every single time i hear it
Brilliant. Keep going, I am one of many current and many future subscribers enjoying your videos.
Thank you for breaking it down for us to appreciate even more
David that was a very good lesson. Thank you.
People that can compose arrangements of this complexity are the Einsteins of music. Magical talent and skill.
Duel of Fates still takes my breath away.
Leah's theme reminds me a little of the opening bars to Wagner's Overture to Lohengrin (the 1st act), which seems to employ very similar harmonic modulations...and with equally emotive results!
Not to surprising, John Williams (like any composer really) is heavily inspired by, and builds upon, existing music. Listen to Gustav Holst's 'Mars' from the Planet Suite. You could pretty much just put that onto a Star Wars soundtrack CD and no-one would notice. Especially the bit about 4 and a half minutes in.
This is such a wonderful video.
Great video, you deserve way more views!
The Cmaj and Dmaj chords in bar 4 could be considered from G melodic minor (G A Bb C D E F#). The C can be seen to come from that and then it goes to harmonic minor for the rest. It still alludes to Dorian in sound somewhat. The yoda theme after the temporary tonic of Bm and then the Am again then implies E harmonic minor again with B7 and the D maj but without the temporary tonic, this leaves the phrygian interpretation of the Bm to Am without grounds as the tonality though the third of Am being C does allude to phrygian somewhat (b9 of Bm). You could see the D to Gm (I-iv) as Mixolydian b6 or Harmonic major (Ionian b6) Eb and Dbm both are in Eb Phrygian dom especially since it goes to Ebm afterwards and then a Bbmaj which is it's V chord secondary implying a possible pivot which then pivots back to Bb as the I.
The Yoda piece is an example of modal music, as it is a vamp interchanging two chords and then changing the character, hence the mode, of the progression. It has no harmonic movement and no cadences.
Great video, great channel. Please make more John Williams vids, the guy is a sensation.
I can't believe you haven't talked about Howard Shore's Lord of the Rings theme. The brilliant way that score re-uses different leitmotifs in subtle ways is amazing!
Great work again!
John Williams' soundtrack for Galaxy's Edge also uses the lydian mode extensively...
Thank you for this video. I love your channel.
Thank you!
“Cool a video about a good music! Maybe I can learn something!”
Watches video
“I know some of these words”
About time I come across your channel, greetings from Apache/Diné Nation from Arizona 🤘🥁
Thank you :)
Nice video! Beginning of Leia’s theme is a mode though, it’s the 5th degree of the melodic minor scale, or Mixolydian flat 6th.
Thank you for this video! :)
Nice work.
I'm not convinced on your Phrygian interpretation of the Am-B-D in the Yoda Theme. This section of the theme is too modulatory, with too brief touches on key areas for the A minor chord to be considered part of the B minor world. Also, I think for it to sound "phrygian", you really need to have that undeniable melodic movement of ^b3 to ^b2 to ^1 ( or vice versa). Glad to hear other folks' thoughts on it!
Josh Josh I agree with your explanation totally. While we might be using the same notes as a particular mode, modes in my opinion are best utilized or explained as “sounds” and as you said, we don’t hear a Phrygian “sound” in the melody there.
Also in the first example, while it does contain notes of the G Dorian scale, the melody has no Dorian quality as it never contains the 6th scale degree (E). It’s just that we have a C major chord borrowed from the key of G major. To me, it isn’t the mode, but this brief temporary shift from G minor to G major that hits our ears to create this uplift in mood.
Just found your channel. Excellent content!
As a person who feels emotion through music, that E flat at 1:23 has always brought out deep emotion in me. I know, I'm a geek!
This definitely needs a part 2.
What a great video! Thank you
Charlie Whelan Cheers 🙏
You need to do Laura Palmer's Theme from Twin Peaks, many good tracks on that but that one I would say is the best and the most emotive journey. The original Robocop Soundtrack too, some great tracks on there. The Isengard Theme from LOTR is good too. Also, 'Death is the Road to Awe' by Clint Mansell. Maybe The Surface Of The Sun by John Murphy too.
Love the 5/4 for Isengard. So offputting and jangly, perfect choice. I adore Howard Shore.
Battle of The Heroes has such an amazing melody! I would love some talk about that one :D
Brilliant analyses. Another (among so many - Dracula Main Title Theme among them) - is the Elke the cat phrase in The Towering Inferno. It's a complex symphonic gesture in its own right but is a William's brilliant throw-away in this film.
The theme for E.T. rarely stays in the same key for two consecutive bars as the character arc moves through every motion a sentient being could experience being abandoned on a strange planet.
You are gifted. I took 4 years of music theory. You were clear, concise, and very interesting. Unlike my theory teacher. I will subcribe. And please find some more rehearsal and recording videos of any of your fav composers. Thank you
This was fantastic, thank you for sharing your passion.
John Williams's ET Theme represents a great use of Lydian mode.
I'd love a full series on John Williams, to be honest. There are just so many excellent pieces to break down, even just within the Star Wars themes (Across the Stars, Anakin's Theme, Anakin vs Obi-Wan)
James Horner would be cool to see. Love his work on Willow, Brave Heart, Avatar, Apollo 13, Land Before Time, Legends of the Fall, Troy, Jumanji and Titanic, along with so much more.
Leila's Theme is actually clearly in the D harmonic major mode (D E F# G A Bb C# D) That's one of JW's most used modes...
Always amazed how movie soundtrack are made, maybe anylize, Good, Bad, Ugly, soundtrack, that I look forward to, glad to be new subscriber, glad found you👍🎼
Ennio morricone
Love that video!
And it would be great if you make more like these! :)
Great video! nice pacing, visual context, and I particularly thought it was original to show reharmonize part of the music to demonstrate how it would sound different if it didn't change modes.
Great video. Thank you so much for this. I really love learning from great composers (with your help). Cheers.
At 5:58, you mentioned how Eb modulated to Db but I would suggest that he used Db as part of Eb Mixolydian since he goes from Eb to Db and back to Eb which is a common way to express the Mixolydian (I-VIIb-I). Just my thoughts but, other than that, you teach very well and thank you for what you are doing.
Let's be honest though, all musicians don't think like that, they do what sounds good to them, and this is the amazing thing
I really really appreciate your videos. I am, at best, an amateur musician but I can still follow what you are saying. Thank you.
Awesome !! I'm used to rick beato, adam nelly, and many other, still your videos are a really nice add to my music theory youtube channels
3:53 I imagine an annoyed conductor stopping the orchestra then staring daggers at you for talking over the piece 😅
Awesome video!
I will however point out though that in the "force theme" you said something a bit misleading. You said that the shift to harmonic minor is highlighted by the Eb chord. The first measure certainly establishes in natural minor, modulates to a Dorian feel at the end with the C, and uses a harmonic minor turnaround at the end with the D major chord. This is truly what establishes the "harmonic minor" feel, not the Eb.
You said in the video that the Eb chord is in G harmonic minor but not G Dorian. That's true, but a bit misleading because the Eb chord is a characteristic chord of G natural minor, though not necessarily the harmonic minor (since it doesn't contain a Gb note). I'd argue that the D major chord suggests the harmonic minor modulation much more directly since it includes a Gb note in the chord, and the Eb just reinforces it since it's a really strong pull to the natural (or harmonic) minor (but not in and of itself indicative of harmonic minor). This is strengthened because the emotional apex of the theme is on the Eb chord, but that's still more of a "natural minor" chord than a harmonic minor one in the key of Gm.
The harmonic minor shift is again highlighted by (again) the D chord at the end of the theme where it creates a strong and serious resolution back to Gm.
Great vid all in all, I absolutely loved it and it got me thinking and playing. But I just wanted to point that out because it had me scratching my head and in case anyone else had confusion as well I just wanted to point out that the D chord is truly the chord that highlights that harmonic minor, not the Eb.
The single most iconic thing John Williams has ever written, is probably the Imperial March. Though being a March, I don't know if it uses the less common modes much. The most *emotional* thing he's ever written, is probably the flying sequence, from ET.
~ Thanks for posting this Video ~
my fav so far. u rok David!
Don't get the dies irae reference in rey's theme but nevermind.
David Draghici Sorta... but I can sort of hear where it comes from.
@@jerryplayz101 Yeah,kind of
Is it just me, or does Rey’s theme start out to remind you of Peter and the Wolf?
Dvorak New World Symphony 1st movement from 3 minutes
ua-cam.com/video/VuaTY3zHO8Q/v-deo.html
Death of Star Wars. That's the reference.
So good
thanks mate!
That C Maj chord is likely the most valuable chord in history. Massively increased the lifetime gross of the Star Wars franchise.
great video - it's always fun to sit down and analyze how different composers think. Especially the ones where we all know the themes. The funny thing is that when i first heard Rey's theme i didn't really like it. Mostly because that Dorian to Mixolydian is not something that John Williams does as often, as some other composers, which is to be honest kinda his charme - I also didn't think it was as memorable as some of his other themes. But after hearing it well 50+ times it really like it.
It's not John Williams, but a "modal modulation" I love is the closing song "Down to Earth" by Peter Gabriel from Wall-E. The verse is in Lydian, with the raised 4th used throughout the movie to signify high tech (very common in sci fi). But then he modally modulates (if that's the word) to Mixolydian, with the flat 7th so common in gospel, for the chorus. Same scale notes, but different tonal center. It's a completely appropriate and powerful switch between the sharp sci fi and the flat down to earth worlds. I've never heard this sort of move in any other piece, and it works well here.
Why is the "G" actually an A flat at the beginning??
G# and a flat are the same note. A is one whole step above the g and a flat is a half-step down from a. G# is a half-step up from g. Ergo, same note.
@@jessiehermit9503 isnt what the meant, the key of the audio is different from the key of the notation. Its notated in g minor, but its playing in a flat minor
probably to avoid copyright problems
1:11 Really can´t see why it would be the harmonic minor scale, it doesn´t mention the major 7th. To me is in G minor (Aeolian) with borrowed chords.
Bruno Cunha because of the D7 at the end of the first line... the D7 contains a F#
Got to say I agree. Great channel however.
Nice illustrations. I know John Williams gets some criticism about borrowing from historical works (temp-track emulation?) but these modal shifts, modulations, and the fluid melodies they support has to be acknowledged. I also appreciate the video clips you include at the end like the scoring stage session here.
I love how John Williams can casually have his hands in his pants while conducting Duel of the Fates
This is an amazing channel for theory nerds! I love it! Keep up the great work! PS can you analyze how billy Joel uses modes in New York State of Mind?
Very interesting video!
The Force theme is also a modal interchange rather than a dorian mode..
That C in The Force theme acts as sortve a God chord.
The first theme is in G# minor
I need to learn musical terms.
Take your time
To be honest, you really don’t. The only time music theory comes into play is when trying to communicate with other people who know music theory. Otherwise, if you know how to play an instrument with feeling and soul and emotion, then you’re good. Knowing how to play a b7 chord is more useful than knowing that your actually playing a b7. Don’t get bogged down with all that. From one musician to another. Now for this guy, this is what he does, analyses themes using musical theory. Good video. Cheers
I've always wondered what's going on in Luke and Leia (from ROTJ) where it briefly modulates or implies a modulation into Db major at around the 2:10 mark - there's something quite evocative about it but I can't understand what is going on theoretically
John Williams is such a master of masters. The Rey theme always felt a little too Harry Potter to me though. Still great.
well said 👏🏼👏🏼👏🏼👏🏼👏🏼
Hi David! I really love your analysis! I am currently writing a paragraph analysis on The Force Theme and Leia's Theme. You're analysis really helped me! I'm just curious what app you're using, like how did you change the C major into C minor. Is there an app? I like to play around with music, but my apps aren't that good.
Anyway your analysis is so great!
I never noticed how Danny Elfman-y Rey's theme sounds.
6:16 "the next four bars all stay diatonic to Eb minor".
Sorry if this has already been addressed, and I don't mean to nitpick, but I think thosr 4 bars are in Eb dorian, no? I mean I would interpret it as Em as well, with the Bb major serving as almost a V7, which is extremely common in this type of music. Many would say it's from the "harmonic minor", but it is so common, just calling the whole phrase minor is what I would usually do. But...
The only complaint here is that you call it "diatonic". Isn't that usually reserved for strict major/natural minor? Maybe I am wrong, or using it in an archaic way...anyway, great video as always!
I broke my brain listening to the Yoda theme analysis. And I kind of liked it.
I dont think that the use of modes here is inappropriate. These aren't "modal" but perhaps brief colors of modality can be claimed... like borrowing from the parallel key, in my opinion. (At 0:30 in the Force Theme) He probably put the IV borrowed from the major as a hint to Dorian mode as the Dorian is the war mode... kinda funny.
Some of these might be easier to describe as chromatic mediants, secondary dominants and chromatic leading tones and neighbor tones, though, like the 2nd half of Yoda's Theme.
I would make a bigger deal of connecting the opening Force Theme, with the last "Ray's Theme" was it? They both share the borrowed IV chord in a minor key... and could both be a hint at Dorian mode to go along with the "war" theme. That connection should be the element that ties the theme of the video together....
oh I just realized... I haven't seen the movie, but doesn't she meet up with Luke Skywalker? Isn't that a connection between the 1977 Luke on tatooine and the modern day Luke on whatever planet he is on? That's probably why the same "mode" or borrowed chord was used. Very clever Mr. Williams. :-)
I don't think they've ever really met, but I would love to be listening in a room that was hosting a conversation about songwriting between Brian Wilson and John Williams. Two different styles and different approaches, but both geniuses in the field...it'd be neat to hear what they would say.
Han Solo and Princess is easily one of the best examples of modality
In jurassic park main theme he does a lydian beginning w. I II followed by a iv V IV back to major.