On John's Dirty Tricks - The Dramatic String Basses

[BLUMENKOHL 1,068]

OK, so they're not really dirty. Or really tricks. More like "genius and maniplative techniques." But it got your attention, and that's all that matters.

Usually when there's musical discussion of John Williams' music the conversation quickly turns into a bunch of people with batons up their bums discussing the merits of the mixolydian scale in relation to a dorian scale while using the √3+i differential of the I IV V V chord progression.

The purpose of this *hopefully* series of threads is to discuss some of the musical elements of John Williams' work while keeping it relatively down to earth so anyone can chime in and discuss their observations. The musically inclined are welcome and encouraged to post, especially if they can explain things like you're five years old, or if people have questions about these musical elements for you.

But the best way I think to make it accessible is generous use of examples.

Enough talk, let's talk some more

THE DRAMATIC STRING BASSES

The boom-tzz is probably Williams' most known technique, at least in name around here. But at the end of the day while I think the boom-tzz is cute and fun, it doesn't contribute to the meaning and core of John Williams' work like his use of dramatic string basses.

Using bassy instruments to convey drama is not in and of itself something uncommon.

But John Williams has a signature way of writing for string basses that I think contributes largely to his sound signature. Most film music out there the basses are either sustained for long periods of time, or are just repeating patterns over and over to convey some form of movement or rhythm. With John the notes in the basses are intricately and carefully woven into the music, to the point where I bet if you took them out the music would feel incomplete. It makes small fluffly melodies and themes larger than life. His bass writing mirrors what's above it, without strictly copying it note for note. And this causes it to become nicely tied together.

You're probably very familiar with one particular technique within his "DRAMATIC STRING BASS WRITING" though you may have never thought about it. A good portion of Johnny moments that give you goosebumps probably employ this technique. Generally he sustains the basses and suddenly dips down (straight, or with a couple of transition notes) at just the right moment. He essentially removes the floor of the music from under you and the sudden change is what gives you the goosebumps. I call it The Dip. Though occasionally I've heard it as an inverted dip, but for simplicity, I'll call it the dip (dip up or dip down!) from here on.

So onwards to some prominent examples of what I'm talking about, both in terms of the dramatic dip and his stellar string bass writing in general, a wonderful undercurrent to a lot of his music:

Prisoner of Azkaban

Finale (2:59 - 3:13)

This I think illustrates one of the most common forms of his "Dramatic String Bass" techniques. The one I call the dip. Note how the sustained strings take a two step dip beginning at 3:02. Perfectly timed with the Window to the Past melody for maximum dramatic impact. There is a sense of destiny and weight the basses lend to the otherwise melancholy but almost flighty theme.

Star Wars TPM

The Queen Confronts Nute and Rune (1:06-1:25)

There are two dips in the basses here, one at 1:19 and 1:21 following along with the repeating segment Vader's theme.

Star Wars Return of the Jedi

Emperor's Throne Room (0:42-0:52)

Dip around 0:49

The Sorcerer's Stone

The Face of Voldemort (1:55-2:04)

Sustaind basses, and then a quick dip at 2:01.

Summon the Heroes

The Olympic Spirit (3:00-3:33)

This one I think is the very best illustrations of how powerful and important John's string bass writing is, as well as the effect of the "dip." The bass instruments pulsate, essentially sustaining, until a two step dip around 3:11. Without the bass writing, this theme would be some high and flighty fluff. But with the maestro's bass writing, especially with that dip at that critical point in the theme, the music suddenly captures not just the happy spirit of the Olympics but also it's competitive spirit and its worldly scale.

Where most of the times bass instruments are accompanying music and themes to give a little bit of oomph, with John's stuff, really well illustrated with this piece, the bass instruments (in this case lower frequency strings) help *define* the entire theme.

Star Wars

Landspeeder Search/Attack of the Sand People (2:39-3:05)

The Adventures of Tintin

Sir Francis And the Unicorn (3:27-3:35)

Here is another variation of the bass instrument dip, this time in an action piece. The repeats the same note, dips down, back up, and voila.

Prisoner of Azkaban

Buckbeak's Flight (1:10-1:30)

This track is basically bass porn for those fond of this Williams' bass writing.

War Horse

Plowing (The whole track)

Again, string bass porn.

Prisoner of Azkaban

Quidditch, Third Year (1:45-1:54)

This is a little different from the rest, but still interesting to listen to the string basses. Again many other composers would just sustain some under all this. But not Johnny.

[Datameister 2,041]

Great examples, Mr. Cauliflower. Williams' basslines can indeed be incredibly interesting and/or emotionally effective. Another example - albeit rather different - I would cite is in "Pulling the Cannon" fromWar Horse, starting around 1:17.

[Quintus 5,399]

I like his crusty, "unpolished" bass best as heard in Jaws, Star Wars and The Eiger Sanction. That era of a more "gritty" analogue recording technique provides some of the most unique sounding bass in the whole JW catalogue, with One Barrel Chase being a personal favourite in that regard. The more polished and perfect John's base becomes, the less and less I take notice or interest in it. He seemed to strive to make such acoustic details more invisible and subconscious the older he got - favouring a more textured and refined finish, but give me the raw melodic harmonies of his hungry years over that any day of the week.

[Ren 75]

I just want to chime in (I'll listen when I'm out of bed it's 4:50am here). The thing I've noticed about wonderful writing for bass is the ability to create an interesting line within the chord progression, staying away from the root until peak moments. Bernstein was also a master of this (west side story as 1). Zimmer is awful at it. ;-)

[BLUMENKOHL 1,068]

Great examples, Mr. Cauliflower. Williams' basslines can indeed be incredibly interesting and/or emotionally effective. Another example - albeit rather different - I would cite is in "Pulling the Cannon" fromWar Horse, starting around 1:17.

Indeed! I swear I thought about putting that in there, but I decided to just highlight Plowing. I love the way even with modern digital recordings John usually lets some of the gritty sound of basses shine through.

But yeah Quint is right, they were far more aggressive in the beginning of his career. But despite this it's obvious string basses aren't just oomph instruments for John. He writes music for them.

The thing I've noticed about wonderful writing for bass is the ability to create an interesting line within the chord progression, staying away from the root until peak moments.

THOU ART CORRECT! But thy have used the terms CHORD PROGRESSION and ROOT without defining them for the masses. HOW DARE THEE!

And you call yourself an edumicator!

[Ren 75]

Sorry Blume.

I'm not really sure how in depth I should go into defining without writing a theory book. Let me think on it overnight.

[indy4 155]

I can try to explain what Ren was saying--I'm not an expert on music theory, so Ren correct me if I'm misrepresenting your observation.

Chords are composed of multiple notes being played at once. The "root" note, for lack of a better explanation, is the main one in the chord. It's the pitch most people would hum if you told them to sing the chord (since they can't sing more than one note at a time). By writing bass lines that stay "within the chord progression," Williams writes bass lines that hit some of the OTHER notes in a chord without ever touching the root until the most dramatic moments. I don't know exactly how this would sound, but I would imagine it would delay the sense of resolution before the bass line hits that root note and thus amp up the anticipation leading up to that moment.

Ren, do you have any examples of this technique?

[BLUMENKOHL 1,068]

I can try to explain what Ren was saying--I'm not an expert on music theory, so Ren correct me if I'm misrepresenting your observation.

Chords are composed of multiple notes being played at once. The "root" note, for lack of a better explanation, is the main one in the chord. It's the pitch most people would hum if you told them to sing the chord (since they can't sing more than one note at a time). By writing bass lines that stay "within the chord progression," Williams writes bass lines that hit some of the OTHER notes in a chord without ever touching the root until the most dramatic moments. I don't know exactly how this would sound, but I would imagine it would delay the sense of resolution before the bass line hits that root note and thus amp up the anticipation leading up to that moment.

Ren, do you have any examples of this technique?

Good work. I would fine tune (no pun) the definition of root to the note which all the other notes in the chord (a simultaneous grouping of notes) are stacked on. When the notes are stacked around or below the root note, we call it an inversion.

[wanner251 17]

I am definitely enjoying this. It is so nice to see a musical discussion taking place that scoffs at the technical jargon. As one who has studied music theory extensively, I tend to be one who just rejects it. Ultimately, it is unimportant because any relationships between notes or tones can be perceived by the one method of intent, which is aurally. To theorize or write extensively about why they work on a technical level seems so redundant to me. Talking about what moves us on a more ethereal level is much more interesting. Most of us learn to speak before we learn to write. If one applied some of the fanatical music theory buffs' ideas to this same concept, one would get the impression that it was the other way around.

Long live the non-technical and clear explanations of what moves us!

[indy4 155]

I think it's a useful tool in referring to a specific aspect of a chunk of music, and to analyze a work or a composer's progression over the years. I'm trying to teach myself more about it so I can do this more successfully.

[Quintus 5,399]

I can try to explain what Ren was saying--I'm not an expert on music theory, so Ren correct me if I'm misrepresenting your observation.

Chords are composed of multiple notes being played at once. The "root" note, for lack of a better explanation, is the main one in the chord. It's the pitch most people would hum if you told them to sing the chord (since they can't sing more than one note at a time). By writing bass lines that stay "within the chord progression," Williams writes bass lines that hit some of the OTHER notes in a chord without ever touching the root until the most dramatic moments. I don't know exactly how this would sound, but I would imagine it would delay the sense of resolution before the bass line hits that root note and thus amp up the anticipation leading up to that moment.

Ren, do you have any examples of this technique?

Jonathan Kent's funeral.

Roy Neary being led to the mothership's ramp.

Brilliantly worded by the way, indy4

[indy4 155]

Thanks Quint. Good examples, I hear the resolution at 2:22 and 3:06 of "Jonathan's Death." I need to listen to this score more.

[Ren 75]

Indy, thanks that was great. Saved me from having to type out this morning. Quint, thanks for the excerpts now I can go have a cup if coffee!

I'll add one hand one heart by Bernstein to the mix of inversions.

[Jay 37,340]

Wow, this is a great thread!

I haven't given out one of these in a while, but this discussion already deserves it:

[KK 3,307]

Agreed. This is a great thread with some great points brought up.