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Favourite Williams’ String Triplets?


tmarps

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There needs to be a rule against not using timestamps in videos. Anyways, this is definitely one of the most common Williams-isms. A similar stylistic touch JW uses again and again in his action music is the kind of churning brass as heard here in the Attack on Jakku Village cue until 3:26 or so:

 

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11 hours ago, karelm said:

This is one of my favorite sections and full of triplet strings:

 

 

This is the first excerpt I thought of when seeing this thread. What I like most about this is how Williams transitions from legato to staccato at the beginning.

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3 hours ago, Loert said:

 

This is the first excerpt I thought of when seeing this thread. What I like most about this is how Williams transitions from legato to staccato at the beginning.

 

This is one of the all time best action cues JW has ever composed.  It is just so full of dynamism, perpetual motion, virtuoso writing, musicality...

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  • 1 year later...

Sooo weird this thread got bumped.  On my way home from work I decided to listen to The Empire Strikes Back (one of my favorites to put on during the holiday season) and was listening to 'Attacking a Star Destroyer'.  My favorite bit in the cue is @1:10... would this be considered a string triplet?  I've always been blown away by this part.  If not, no worries, still a wonderful moment.

 

 

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10 hours ago, Bellosh said:

Sooo weird this thread got bumped.  On my way home from work I decided to listen to The Empire Strikes Back (one of my favorites to put on during the holiday season) and was listening to 'Attacking a Star Destroyer'.  My favorite bit in the cue is @1:10... would this be considered a string triplet?  I've always been blown away by this part.  If not, no worries, still a wonderful moment.

 

 

Defo weird that this thread got bumped - but anyway, yeah. that is a string triplet, anywhere you can hear a strong sense of "1,2,3, 1,2,3" in string instruments I guess - he uses it often to drive things along and I think it's a great technique. He also swaps it for triplets in the brass at 1:26 which he likes to do often as well!!! Creates an epic sound. Think of it as the strings setting up an unsettling background idea with the audience feeling that the triplets are there but not actually knowing. Then, the already set-up triplet idea comes to the forefront in the brass for an almighty payoff. Epic stuff.

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Don't underestimate the slow-tempo triplet, though.  It can add a feeling that is both stately and rhythmically interesting to any melodic line.

 

Listen to the low strings here in "With Malice Toward None".  You can hear a string triplet at 3:09 and 3:13.

 

 

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