"The Battle of Yavin" REMASTERED (Score Reduction and Analysis)
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- Опубліковано 10 чер 2018
- "The Battle of Yavin" REMASTERED (Score Reduction and Analysis)
A full score reduction of the attack on the Death Star from Star Wars, Episode IV: A New Hope.
In this remastered edition, I’ve removed the aspect ratio bars from the film, added key frame transitions to the video changing sizes, fixed some issues in the reduction, and even added more annotations to the analysis.
I own nothing. Enjoy!
WIlliams' score: "Horn plays an echo of the triplet passage in the strings"
Modern score: "Single note repeats for 11 pages"
I'm kind of dumb when it comes to music theory and noticing things, but I LOVE soundtracks and am trying to be more educated and conversant on the subject. What comes to mind with the modern type scores you're thinking of?
Comical, as Antonia Salieri would describe modern music.
@@Anonie324 Every Hans Zimmer knockoff. Hans Zimmer knows enough to write decent music and pushes the boundary of when copy and paste is too much. Everyone who copies him goes way past the line and never looks back.
@@jakegearhart Thank god someone actually answered the question lol
@@M1GarandMan3005 i would describe modern music as the audio version of blind kittens being fed through a meat grinder.
Man, being one of the orchestra members recording this amazing music back in ‘77 must’ve been a blast.
Not really. They all thought Lucas was crazy because up until then no one in Hollywood had used the old symphonic scores since the old studio days of MGM which were then considered the old days. I’m sure after Star Wars became a hit they had a blast making the Empire Strikes Back OST which lets be honest, blows A New Hope’s OST out of the water. 😊❤️
I think so as a player must of been fun especially for the brass & Lucas after all the stress finally getting to kickback and hear Williams work must be cool, and I’m sure Star Wars wouldn’t be what it is today without the music of Williams (I know he used temp tracks but still)
I know someone who played in a screening of it a few years ago with a full orchestra and as an old school fan boy it blew his mind to be playing it
Many years ago, I talked with Maurice Murphy, the principle trumpet of the LSO at the time (and for many years afterwards). He said that the recording session for STAR WARS was his first official job with the LSO. He described the music as difficult, wonderful, and a "baptism of fire". A few years ago, Williams himself talked about his relationship with Murphy during that session. The orchestra had just recorded the RAIDERS score, which Murphy said he really enjoyed playing).
@@basketballgirl723 I don't see how any of what you wrote here would somehow concern the orchestra members. I'm sure they had a fantastic, if occasionally stressful time.
There's just something about the music in A New Hope that gives it a unique sound to the rest of the series. I can't quite put my finger on it, but even by Empire Strikes Back that magic was severely diminished.
Empire has a phenomenal soundtrack but I know what you mean. There's a life and a purity to the score of Star Wars (1977) that's certainly magical. Last soundtrack of Williams that had that sound was the 1978 Superman in my opinion.
I think it may have to do with the recording quality. The first one feels a bit younger and more alive, and imperfect compared to the later clean and perfect recordings of ESB and Return of the Jedi
It sounds much more classical (and by classical I mean Stravinsky and Holst and all the Romantic composers) than ESB and the scores following it, which definitely still have their classical influences, but on the whole sound much more like Korngold and other classic film scores.
I know what you mean. I think of it as as an era in John Williams' composing career from 1975-1981, containing Jaws, Star Wars, Superman, and Raiders of the Lost Ark. There's a sort of old-fashioned heroic motif that permeates each of these soundtracks. Close Encounters of the Third Kind is my favorite John Williams soundtrack but it has an entirely different quality to it, and Empire Strikes Back is less heroic and more brooding. E.T. obviously explores different themes as well. By the time Return of the Jedi came out, recording technology improved and Williams started to incorporate more diverse influences into his soundtracks.
An interesting comment I wanted to add was that in measure 80, when the action returns to the Death Star, Williams puts in a little Death Star Motif there to guide you back to the Imperial side of things. I love the little transitions like that between scenes. it's not just making cool music; it's creating an emotional element that helps guide the listener to different scenes and their context.
"The Force Theme in its full glory !"
Absolutely love it !!!
Every minute, the suspense grows, until it reaches the poetry of the evocation of the Force and the heroic and agonized suspense of the outcome. Fantastic orchestration. All time best battle score.
"We're in position, I'm gonna cut across the axis and try and draw their fire..." YES
Yes, absolutely love that pivotal moment that heralds the transition from approaching the Death Star to the beginning of the battle !!!
Flat out the best piece of music composed to an action sequence in a movie.
David, at the 0:58 mark, I love the tension created with trombones playing the C against the D-Flat played by the Horns. This dissonance is jarring not just because of the second, but because of the distance between the horns and trombones.
The video game Star Wars: Empire at War (and associated mod games) use this cue as the alert for when a battle is about to start .., They could not possible have made a better choice!
I'm in alternate universe where Return of the Jedi was the last Star Wars movie and the trilogy is eternal, immortal, and sacred.
At the '70s; A New Hope for Film Music Score.
Now; Unforgettable, Wonderfull, One in a Million!
These are the BEST videos on UA-cam!
Great job on the analysis! One thing you might have missed, though. At 9:06, the timpani also had to play a d flat along with the G. Other than that, great job!
I've just come across this again after a couple of years, brilliant stuff!
Dude, you're totally awesome for uploading this! Gratitude and keep doing it, it's great! (:
love this part of the score....it's basically a continuation of the 'out at sea' music from Jaws.. it's great hearing William's progression from Jaws just two years later.
the one dislike is from the guy who paid for the death star that was destroyed 50% by the power of this music
1:57 BEST part
Yay, is the original one from 1977!!
Music over the ORIGINAL 1977 version of New Hope--nice!
What an amazing piece! I can’t believe how complicated and layered Williams makes his music. The full sound of this orchestra is amazing. I have 1 request, can you please make a film score analysis video on the Sarlac Pit battle music? I believe that the piece is called “The Return of the Jedi”. I would love to see that theme analyzed.
Absolutely! I'll add it to my to-do list...
Awsome thanks!
@@DavidMcCaulley That unheroic brass fanfare at around the 6-minute mark may very well be the “Imperial Attack” motif. It sounds extremely similar, so I suggest giving the original “Imperial Attack” piece a listen. You’d be surprised by the similarities.
Love the fanfare as the ships take off. 🎻🎺📯🤙🏾
9:28 _REMEMBER... THE FORCE WILL BE WITH YOU... _*_ALWAYS_*
Awesome
So cool that you use a mix between the original and the Special Edition
Actually this is just the original.
9:28 A subdued version of the Imperial Motif in ANH, overcome by the Rebel Fanfare
Show of hands - any runners who use this as track/ treadmill/ cross country music?
At 0:58 I get chills everytime same thing started at 6:35 the tension builds up. I cried when I heard the force theme 😭
A new hope, specifically the battle of Yavin, has the greatest movie score of all time. Hands down.
The best film composition of all time
makes duel between obi wan gui gon jin vs darth maul
The “scurrying strings and bass hits” when Luke gets in the trench is the musical que that Williams expanded upon in his ‘Scherzo for X wings in Ep7. I’m sure of it.
I always felt that this piece had so many elements of ROMAN IMPERIAL FANFARE, and many of the trumpets sounds of heroics Roman gladiatorial battles. Star Wars embodies the Roman Empire in so many ways.
Love it
1:05 This snare and strings reminds me of Shostakovich's 11th, and it may have also been inspired by it!
Who is the leitmotif at 2:32 and 5:59 used for? It is heard a lot throughout the soundtrack but I I'm unsure what the theme represents, anyone know?
I believe that is referred to as the Imperial Motif. It was basically an Imperial March at the time.
They are the original Imperial leitmotifs. The motif at 2:32 is associated with Darth Vader; Giacchino uses it in the Rogue One score when we see Darth Vader in his bacta tank. (it can be found in the track "Krennic's Aspirations" at around 1min 37s)
Oh right, thank you! And great video as well :)
Wow never noticed that before! Cheers
You can hear it whem the storm troopers found the escape pod, when Vader meets Leia at the beginning of the movie and several other moments I cannot think of now. So yeah, it symbolizes the Empire and its threat before John Williams came up with the brilliant follow-up, Imperial March. Imagine what Star Wars would have sounded like if he never did.
0:58 Bro if john williams was able to make a simple chord into a motif that can be easily remembered and sung, what am i doing with my life?
I always hear theme to ‘High Chaparral’ right before Wedge blows up TIE fighter tailing Luke. It’s not that similar, I just checked, but it set off a memory for me.
0:56 0:58 1:06
0 dislikes, damn ur gud
Poor Porkins....dies first every time...
www.jwfan.com/forums/index.php?/topic/21632-angela-morley-about-arranging-for-john-williams-on-star-wars/
I think that 11m3 (Or I think R11P3-R12P1) which I think the cue name is "Use the Force".
The link I sent you, it was orchestrated by Angela Morley.
Outside of Herb Spencer, orchestrators Arthur Morton and Al Woodbury also contributing to orchestrating John Williams' Oscar winning score
personally, I don't think no music for some of the battle makes it more intense, it makes it more boring and less epic
The score’s entrance was dramatic and further increased the tension. The lightning fast editing and overwhelming visuals, not to mention the audience’s emotional investment, were enough to carry the sequence. Carefully chosen silence is often the most effective film scoring technique. Without silence, the film’s tension could not get any more pronounced. Ask anyone who witnessed this in the theater; I guarantee nobody found it boring. The entire saber duel in ESB is also unscored. Williams and Lucas know what they’re doing
why do people spend their time doing somebody else's work? did you get paid for this? then don't do it