hwj4736

Musically, it's interesting we hear the Imperial motif inverted in this cue in places. It's used as Vader's theme in this film. Prominent other placements of the motif are when Luke runs to the burning homestead (vc/cb play the motif) and also in the piccolo as 3PO/R2 talk after the initial part of the opening battle. It's a rather interesting example how JW can take a simple motif and use in so many ways (as a bass line, or add triads and it's Vader's theme, etc.) Actually I find it to sound lot Herrmannesque, hence I find it natural that someone refered to The Fury earlier on. As far as the use of the cues go, this is an example that not always does the composer makes the best choice. The original version, while amazing from a purelly musical standpoint, the final film version works better within the whole leit motiv logic, and the use of the force theme creates a direct link toward the path he will follow. The same thing applies to the Sail Barge Assault in Return of the Jedi. The use of thematical material makes it work much better within the film context. But that's just my opinion, and while i feel honored that you care for it, is probably somewhat overrated...

I most prefer the 1977 version. One of my favorite things done in that version and not in any other is the timpani playing the bass line solo, after the horns play the recapitulation of the main theme. Even the 1977 suite (printed score) doesn't show that interesting timpani part. I'd say Jedi is my least favorite. Overall, the recording sounds flat to me - as it does for the whole score. Not sure if it's the room or the engineering, but the sound just doesn't sound as good. I like the sound of the 1977 recording the most. I read somewhere they used the same microphone used in the Fox studios in the 1950s which Lionel Newman helped pioneer. I've seen pictures of Lionel at the March 1977 recording sessions too.

Also, in the Prokofiev 5th 4th movement, Prokofiev's use of the horns is just like Williams's use of them in the End Cast from Jaws 2. The key is even the same - but the chords are slightly different. (both composers use pulsating horn chords to accompany the melody) Just paid attention to this, and now that you mention it...you've hit the nail on the head. There seems to be a certain humor expressed in the 4th movement that is very similar to many moments in ToD. These musical jokes are something i've always enjoyed, whether they be from the productive Shostakovich, Prokofiev or even the Maestro himself (and because I listened to ToD before any classical pieces, i'd say ToD formed the basis of my liking this type of music). I love this piece!

I've noticed the Prokofiev 5th sounds Williams-esque - check out one of the themes in the last movement, it's quite similar to the love theme from Indiana Jones and the Temple of Doom (rhythmically the same, harmonically not). To me, the Jaws 2 score shows the biggest influence of Prokofiev - especially in the End Credits and the catamaran sequence.

I've found that JW (in his sketches at least) seems more meticulous with the brass/string writing, often the woodwind parts don't indicate much voicing, except where important solos (or soli) are heard. One often sees "wind" on 1 or 2 staves in the sketches. His string writing is quite detailed, often he indicates bowings in the parts. Notationally, when in 4/4 time he often uses a double dotted half note followed by an eighth note quite often. This appears quite often in his earlier and his later scores. Perhaps it's a way of getting a slight break between the current note and the next note. I like how he will double multiple woodwind on the same notes, it creates a nice, solid, composite sound which balances well with the rest of the orchestra. He'll also used unusual combinations at times without the listener being aware (for example, two tubas in the original STAR WARS score - they often play in unison). I've noticed he likes to double bassoons and violoncellos - a technique used in a lot of music (Elmer Bernstein's TEN COMMANDMENTS and BUCCANEER scores used this device throughout those works). And in HOOK, the arrival Tink cue opens with two clarinets, bass clarinet, and e-flat contrabass clarinet. Quite interesting, Herrmann-esque orchestration. By and large, Williams is unique to my ears in his ability to create textures of sound. He is well lauded (appreciably so) for his ability to write Korngoldian melodies, but some of his cues are anything but Korngoldian: "Baby's Trip to Earth" from SUPERMAN is a good example of mixing a lot of textures together, same for "FATHER'S INSTRUCTION" from SUPERMAN, in which his sketch goes up to 16 staves, with meticulously notated harp/piano/keyboard parts with very unusual rhythms - what sounds like a lot of ad libbing is very meticulously notated.) EMPIRE STRIKES BACK has some rather interesting textures - "Ben's Instruction" features imaginative use of string tremolos, timpani tremolos with pedal glisses, and dissonant clusters of piccolos high above. Truly masterful and inspired. Although not much discussed, his score to IMAGES is so different, and is an effective counterargument to those who say he can only write in the big, epic sound. Williams is more eclectic a composer than people give him credit for....

Here's a really obscure one from ET: In the cue "Mary Searches the closet" there is a short little piano solo. In the sketch/full score the left hand part doesn't quite match the 1982 recording - but for the 2002 live performance it was played as written in the score. Must have been changed in 1982 (the written version doesn't sound quite right, the 1982 version plays the passage in octaves. The written version has a 10th on one of the intervals - odd.) ET's end credits is quite a major example. The sketches (and some takes on the CD's) have the piece begin with piano & orchestra. In the film we hear piano opening by itself, then the orchestra is "dialed up" gradually to full volume with the piano (the part where the horn countermelody comes in). Oddly, the full score copy I have shows just the piano solo at the beginning. But it appears to be in a copyists' and not in the hand of the original orchestator (Spencer) or Williams. The cue "losing ET" (opens with C major clarinet statement of ET's theme) originally had strings backing the melody. JW changed it to just the clarinet at the podium. (This is the replacement cue for the original version which is scored differently). STAR WARS shows this too, with the CD featuring the 5 takes of the Main Title, each with different opening (opening chord c half dim. 7 / F leading in, others with full B-flat chord, one with just trombones and triangle). EMPIRE: "Losing a Hand" originally had some woodwind part with the horns opening. It was apparently omitted at the recording session. SUPERMAN: "Racing the Train" as recorded substantially differs from the written score. THis may be a case where the cue was compressed or extended to match new footage, probably not really a 'change' to the music per se.

As Jediwashington says, it is indeed one piano part in the full score. The left hand plays straight 8ths across a two octave span and the right is playing triplets against the eighths. I actually find the left hand part a bit more difficult than the right - keep the rhythm even and keep the notes at the same relative dynamic are definitely a challenge. In the live performance, I heard the pianist making a lot of errors in the performance. But I read the story in this threat about a sudden last-minute replacement. "ET's Halloween" definitely has an easier part - way easier. It is indeed mostly octaves. (Another tricky Williams piano part is "The Tennis Game" from EASTWICK - I saw the piano part years ago from an orchestra rental copy, and it has lots of wide leaps (10ths if I recall), and some fast repeated notes.

JW also likes random repeated figures. He uses this device in Jurassic Park, CE3K, and EMPIRE. Many other scores too. He may notate out a few notes then say "repeat as fast as possible" - the effect is interesting, as each string player is playing at their own speed. On the recording it may sound like the string section is playing impossibly fast, but each player is in fact doing their own speed of the note sequence. (The Kidnapping of Barry, from CLOSE ENCOUNTERS, uses this effect considerably). Another hallmark I like in John Williams's writing is how he likes to double lots of woodwinds together in unison. He creates interesting textures by combining flutes/clarinets/oboes together, in many cases he'll use all woodwind (exept perhaps bassoons) on the exact same pitch, creating a nice, composite, woodwind sound. In the SUPERMAN score, the Krytonite motif is heard by flutes in unison, in the scene where young Clark discovers the green crystal buried in the barn. Also, when we first see Otis we heard the villians' theme played by three bassoon in unison. These examples all give an added weight to the melodic material and create a good overall balance in the orchestration.

EMPIRE: The violins are playing C/Db/D and the celeste is playing D/Db/C/C/Db/D. The violins sustain the 3-note cluster while the celeste plays out the notes in sextuplet rhythm. CE3K: That cluster is one of the biggest I've seen: Williams divides up the strings and each "part" plays a large cluster. The published suite (long out of print) opens with the cluster so it can be seen there. It is frequently traded on this board. ET: The "ET" score uses string clusters in places too, the scene where Elliott meets ET rather imaginatively uses clusters then has all the players slide up to another cluster and back down again.

The scores indicate only one piano. And yes the part is difficult but playable by a good pianist.

It's entirely possible the piano part was recorded separately and dubbed in. In the score, the beginning of the end credits is orchestrated in addition to the piano part being there. In the film, it starts with solo piano and the orchestra part is slowly "turned up" volume-wise until it's at full volume w/ the piano. The part is quite challenging, the left hand part encompasses two octaves (8th notes) while the right hand part has a lot of jumping around while maintaining a steady triplet rhythm.