0:55 I'm probably just looking too deep into this but the Dies Irae being played as Obi-wan says "I loved you" makes it all the more painful. really hammers home the fact that their brotherly love is now dead.
You forgot to mention how the entire melody is a series of variations of Anakin's theme that has evolved from TPM through ROTS. After Padme asks about Anakin it plays for the last two times and is meant to sound the most like TPM version, but it can't quite get there. I think this is Williams trying to demonstrate how Anakin will never be his true self again.
For anyone interested, the chord at b13 01:04 is an octatonic subset (0134 or D,Eb,F,Gb in this case) which is used throughout the franchise (albeit in lots of different contexts and guises) and is referred to a great deal sometimes without the '1' and in the voicing 0,8,11 or C,Ab,B...
Only the reduction of this piece is so extremly compelx in terms of harmony and especially in terms of dramaturgy.Only John Williams is able to write such complex scores, which you would not recognize as complex as they are.Also the instrumentation is superb. In my opnion John Williams should win the Oscar for best original Score for every work.
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.
If you listen closely, JW jazz background is in all these chords. In this cue (similar to Anakins Betrayl) it sounds very inspired by Holst. But the chords are much more dissonant. In heart-wrenching scenes 1st inversions are used heaps!! Along with 7ths.. Also the Dies Irae is used again and again.
@@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.
Hello. Sorry for my bad enflish.Your work is fantastic, i loved. But whats ir a "Dormit 3 ( ma7 / # 11 ) f#. I already ma7/#11, but dormit 3 not. is this chord the F # / c #? if not, what are the notes of this domit3 chord? help me please. Hugs from Brazil!
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#
Man, in my opinion Sith is way overrated and just quite decent but I gotta admit, this scene here... it's brilliant, fantastically acted, actually no corny dialogue, this is the tone the whole film should've had.
0:55 I'm probably just looking too deep into this but the Dies Irae being played as Obi-wan says "I loved you" makes it all the more painful. really hammers home the fact that their brotherly love is now dead.
It's definitely Dies Irae, the Revenge of the Sith score is littered with it everywhere.
You forgot to mention how the entire melody is a series of variations of Anakin's theme that has evolved from TPM through ROTS.
After Padme asks about Anakin it plays for the last two times and is meant to sound the most like TPM version, but it can't quite get there. I think this is Williams trying to demonstrate how Anakin will never be his true self again.
until Return of the Jedi
For anyone interested, the chord at b13 01:04 is an octatonic subset (0134 or D,Eb,F,Gb in this case) which is used throughout the franchise (albeit in lots of different contexts and guises) and is referred to a great deal sometimes without the '1' and in the voicing 0,8,11 or C,Ab,B...
Only the reduction of this piece is so extremly compelx in terms of harmony and especially in terms of dramaturgy.Only John Williams is able to write such complex scores, which you would not recognize as complex as they are.Also the instrumentation is superb. In my opnion John Williams should win the Oscar for best original Score for every work.
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.
My favorite SW movie and the 3rd best OST in the series.
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.
Oh cmon don't stop there! Show us an analysis of Anakin Crawling. One of my favorite John Williams's songs
This channel is fantastic.
If you listen closely, JW jazz background is in all these chords. In this cue (similar to Anakins Betrayl) it sounds very inspired by Holst. But the chords are much more dissonant. In heart-wrenching scenes 1st inversions are used heaps!! Along with 7ths.. Also the Dies Irae is used again and again.
My cousin-in-law took me to a midnight screening of Revenge of the Sith in 2005. He paid for my movie ticket and I bought him a bathtub of Coca-Cola.
Please do some Phantom Menace! Lots of great music in that one.
Does anyone else get a small sense of Schoenberg's 'Verklart Nacht' in this, or is it just me??
Verklärte Nacht*
@ashleythorpe7933 pedantic??
Not only shoonbergs work but also it's slightly similar to Mahler's ninth final movement
How did John use the Dorian mode to modulate up a 5th?
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.
Hello. Sorry for my bad enflish.Your work is fantastic, i loved. But whats ir a "Dormit 3 ( ma7 / # 11 ) f#. I already ma7/#11, but dormit 3 not. is this chord the F # / c #? if not, what are the notes of this domit3 chord? help me please. Hugs from Brazil!
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#
I kind if wish they never included Padme's dialogue where she says "Obi-Wan, is Anakin alright?" it ruins the moment a little.
Is it possible that you upload just the music the next time?
Nico Robledo Not from a jedi
Man, in my opinion Sith is way overrated and just quite decent but I gotta admit, this scene here... it's brilliant, fantastically acted, actually no corny dialogue, this is the tone the whole film should've had.
It did. Clearly you weren't paying it the attention it deserved.
Do it for Across the Stars next.