Star Wars: "Across The Stars" by John Williams (Score Reduction and Analysis) (old version)
Вставка
- Опубліковано 25 січ 2019
- Star Wars: "Across The Stars (Love Theme from Star Wars: Episode II" by John Williams (Score Reduction and Analysis)
Do you want to know how to write music like John Williams or other composers? That video is for you!
A full score reduction and analysis of "Across The Stars (Love Theme from SW: Episode II"). Music composed by John Williams for Lucasfilm LTD movie "Star Wars: Episode II: Attack of the Clones".
- Documentary about John Williams scoring Attack of the Clones: • John Williams scores S...
- analysis of "Across The Stars" theme on Film Music Notes page: www.filmmusicnotes.com/celebr...
I own nothing.
Watch in HD!
The new version of this video is coming soon!
Consider adding your support and follow my Patreon page: / oskar_hrankowski
Thank you!
Enjoy!
If you want more videos like that, please subscribe!
I recommend these channels:
FilmScoreAnalysis - / @bradfrey
Big Daddy Dave - / @davidmccaulley
Like my facebook page:
/ oskar.hrankowski.music
Follow me on Instagram: / oskar.hrankowski
Follow me on soundcloud: / oskar_s_music
/ @oskarhrankowski - main canal page
Do you have any suggestions? Write a comment
More score reductions coming soon!!!
Contact email: oskar.s.music.contact@gmail.com
Score reduction and analysis by Oskar Hrankowski
That s by far the best score ever writen by John williams.
Which means a lot, because John Williams has written countless 10/10 scores. But this one definitely takes the cake.
A few years ago I saw only two pages of Eddie Karam original manuscript version and I was shocked! It looked like Tchaikovsky's manuscript! These people are great. And John is a genius, perhaps the last one on the planet for a long time to come........
Probably my favorite piece John Williams ever wrote. I can get lost in it.
I always wondered how the third iteration of the main theme always managed to sound so incredibly triumphant and satisfying despite essentially being the same as the first two. I never realized that there was a key change, actually two key changes, until now. You really don't notice it because it's so incredibly smooth. Possibly the greatest piece of music ever written, from a technical point of niew.
Wow, if I didn't know any better, I would've thought this was written by Tchaikovsky.
Yes, John Williams has written some cues and themes in Tchaikovsky's style, that's mainly because John Williams' music is mostly inspired by romantic and neo-romantic music.
I really love music of both: Williams is my favourite composer and Tchaikovsky is my favourite non-film composer 😀
@@oskarhrankowski Interesting... But John Williams is a really awesome composer. I don't only know him from Star Wars music.
@@HANSMKAMP Of course, now I'm working on something other than Star Wars - Superman Theme and something from Shindler's List. I will post it soon.
He likes tchaikovsky's orchestration chops(he's quite clean but with character? Best way to describe one of the best orchestrators to walk the planet along with what is probably one of the best orchestrators *still* walking the planet)
This is absolutelly amazing! Great great job!
Thank you!!
I love these..... now sucked into this rabbit hole.....this is my favorite so for
2:12 I thought something sounded familiar so I checked and that quintuplet was also used during the climax of Anakin's Theme. I know similarities are obviously to be expected but I thought that was cool.
Wow! I've listened to this piece over a hundred times and never realized that! That's why I love his scores... you can find something interesting and new each time.
Halfway through is what they used as the background music for the galactic overview in the original "Star Wars: Battlefront 2" in the mode "Galactic Conquest." As well as around the 4:30 mark.
The part at 2:03 is SOO beautiful, I hate when people try and claim Williams only steals melodies and chord progressions, because this song if full of some of the most original orchestral music I've ever heard
2:26 this is the best.
Yeah especially since it’s followed by the part at 1:46 which is the I want to say “chorus” idk music that well. But it’s like the song is telling us “yes this is a very happy scene for Anakin and Padme but it’s really not for the rest of the Galaxy. What’s to follow will plunge the Galaxy into darkness.” But then it comes back with that same chorus as if to say “don’t worry because the dark time won’t last”
I can easily say that is the most touching song ever
An absolutely fantastic reduction and analysis. This helped me immeasurably.
I just became your 100th subscriber! Congrats! ;-)
Thank you!
These film score reductions are awesome! As an aspiring composer, it's really neat to be able to see all of the harmonies Williams goes for all laid out in front of me. And given Across the Stars may be my favorite piece of Williams' I'm glad to be able to see it in particular. Thanks!
I love this. Very good job!
The Poetry of John Williams… I am speechless
After this Music, what is left for us to write?
2:27 is my favorite! Especially the horn part at 2:36
I hope you enjoyed it!
What do you think I should do next?
I'm thinking about Theme from Shindler's List or a scene from Attack of The Clones but I can also do something totally different if you give me some ideas.
If you like my video, please, subscribe and share!
Thank you!
Thanks for this! I have the Hal Leonard Signature Edition scores, but it's always fun to see all the detail in a condensed form like this. I look forward to your next upload whatever it may be.
Would love to see Schindler's List!
Edited to add: Danny Elfman's Spider-Man Main Title would be really cool too
Okay, I have the score of Shindler's List Theme so I can do this, but I will also search for Spider-Man Main Title score and if it's avaible somewhere, I can do this in the future 😉
Edit: I found Main Title score from Spider-Man 2 so I will do it next!
@@oskarhrankowski I have a question, I am doing a mock up of this with virtual instruments, but i noticed that it seems that the notes are an Octave lower in the sheet music than the actual soundtrack. Why is this? Is it just me or did someone make a mistake?
I really don't know, what it can be. Maybe it's something with DAW?
Excellent work, thanks it is very good to analysis, thanks
In Measure 55, the second dotted eighth note as an F (F3) on the bottom but none of the instruments you marked down can play that note. Flutes go down to Middle C (C4), Oboes can hit the Bb below that, and Violins only go to G3.
Does anyone else notice a bit of a swing to this? I find it most notable at 3:42.
John Williams is a jazz pianist and you often hear jazz characteristics in his pieces such as the swung rhythm that you heard
@@benlawton5238 Oh thank you. It sounded a little like it was swung but I never saw anything saying it was swung. Thank you for informing me!
Rather than describing the D-Maj chord at :43 as a borrowed chord from lydian, it could be interpreted as a tonic with a picardy 3rd. Even more in-depth though would interpret the neopolitan chord as a pivot chord. After the N all E's are flat suggesting a modulation to g-minor, in which case the D-Maj functions as the dominant with the raised 7th. The modulation continues as the phrase is repeated at a different pitch, still with all E's flat, completing the modulation to Cm with the dominant G-Maj, and theme A revisited in Cm.
2:23
Oops, the third measure dotted half note on the third beat should be a Bb, not a B natural.
I was just going through the Hal Leonard Score and there is a courtesy natural for the Tbn. part in measure 59.
The natural sign is in line with the C, not the B.
It's entirely possible that this was copied from the score, but John Williams changed it when recording. Though you are right. I don't have perfect pitch or anything but I loaded the video in a spectrogram app to confirm it and there was no B natural playing
Bonjour Oscar beau travail
Cool
Thanks very much
You’re welcome
3:39 my favorite part
What I would like to know is not simply what he does, these videos are excellent at laying out that, but WHY he makes certain choices. Instrumentation, part-writing, timing...all those things are important elements in which Williams will react to what is going on on the screen. This is what I need to know when analysing a score or a cue. Why is he changing key here? Why does he give the theme to the flutes there? Is something happening on screen that warrants it? Is not film music analysis about what happens on the screen to cause the music to go a certain way? At 2:10, I'm sure we all recognise an F# minor scale when we see one, and it's good to point it out, but I want to know why he is doing so at that specific point? I like to try to find out why something is happening, not just what is happening, otherwise it ceases to become film music analysis and just becomes music analysis. x
This and other of my score reductions with corrected mistakes are available now as PDF and MIDI files for my Patreon supporters: patreon.com/oskar_hrankowski
Thank you for adding your support!
2:26 this is the best.
Are the trumpets in concert pitch?
Yes, they are
@@oskarhrankowski ok thank you.
John Williams Isolated Score Across The Stars ⭐️ (Stitch & Angel 👼 Theme)
I don't have any music theory knowledge so if I am incorrect, let me know but the Dm in measure 5 sounds a little weird when I played it on my keyboard. It sounded better with A, not B. IF you can explain this to me that would be great. Thank you!
That's interesting. I didn't spot that before reading the comment, so nice catch! Since a D minor chord has D, F and A, the B would not be part of the chord but a sort of dissonant note to make the chord sound a little more interesting. Since B is a sixth up from D, I believe a D Minor with a B added on would be written as a Dm6 (I'm counting the A in the staff below as part of the chord). Interestingly, this combination (D F A B) also appears in measure 7 with "Dm6" now written on the reduction. In terms of voice-leading, I think a B makes sense, because the next two notes that 2nd violin part plays are Bb and A, so the B makes it a bit of a journey back to the consonant A, but it might also just be a typo.
@@cwaller1151 Thank you! I have no music theory knowledge, I only know what I've taught myself out of my school band class. Thank you for explaining it to me.
what speed is this because i tried it on my app and i couldnt match it
Anyone else wish the English horn hit the high E at the end instead of leaping down to the low one? Just me?
I'm new to music writing, so I wonder why in this case you choose to use sharps and flats before each note instead of key signatures. Is it better for this type of music?
Should the B in the strings line in measure 7 be a Bb?
I think so
"Cellos"