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Hi everyone, I'm Jay Lee, a video game music composer, and also the author of the Behind the Score series. I've been reading and taking an interest in this forum for quite a while (perhaps more than 10 years), but this is my first time writing here! I, along with my great colleagues, recently wrote a short rhythmic analysis of John Williams' music and wanted to share it here. These are two-part articles, both examining perhaps the most famous John Williams' works and delving into some of his rhythmic approaches in composition. Some are as simple as using odd time signatures, while others include more advanced concepts such as rhythmic accent displacement and polyrhythms. As composers (and a musicologist at the same time), our observations may differ from others' perspectives. With that said, we simply hope that this analysis brings joy to John Williams fans who read it. Below is our posting. Enjoy! Edit: For some reason, a few of the audio clips on this posting can't be added here. You can read a full article with a playable audio clip here. ============================================================================ Exploring Rhythm in John Williams' Music (Pt.2 - Accent Displacement) Continuing from Part 1 of the series, we will explore additional intriguing rhythmic techniques showcased in the music of John Williams. In Part 1, we explored how John Williams incorporated time signature changes in his music. Now, let's shift our focus to his use of accent displacement techniques. We will present a variety of musical examples that highlight this technique's application, accompanied by mockup examples. Get ready to have some fun! Notes: - Due to copyright issues, all audio and scores displayed on this page are alternative versions or recreations of the original content. - In this post, we have chosen to omit some of the instruments from the score to place a greater emphasis on the rhythmic aspect of the music. What is an Accent Displacement? "Accent displacement, in a broader sense, is identical to switching time signature, as a composer may ignore the original strong and weak pulses between the measures to diverge from the rhythm." Accent displacement is the technique of changing rhythmic stress in music by introducing artificial rhythmic accents against the natural pulse of the music. When listening to music, you may naturally tap your feet to the rhythm, but you may also notice moments where you feel sudden shifts in downbeats and accents not falling together (such as in Salsa music). The change may be less obvious when compared to a time change or a metric modulation, but nevertheless, it affects the listener’s perception of the rhythm. Accent displacement, in a broader sense, is identical to switching time signature, as a composer may ignore the original strong and weak pulses between the measures to diverge from the rhythm. Despite this fact, accent displacement is different in that the resulting rhythmic shift is temporary, and in most cases, any time-related markings are not notated on the score. In contrast to both time signature changes and metric modulation (which actually change the meter or tempo in the music), accent displacement only affects the groove and rhythmic continuity while keeping the original tempo and time. Throughout many compositional works of John Williams, especially in his works for the soundtracks of the Harry Potter series, the technique was used excessively, making his music sound more rhythmically appealing and less predictable. Example (A) - “Aunt Marge's Waltz,” from Harry Potter and the Prisoner of Azkaban (2004) MM. 1-5 MM. 6-11 MM. 12-17 Ex. A is a 3/4 Waltz exhibiting a conventional "Strong-weak-weak" triple meter pulse. The song breaks free from the 3-beat flow in measures 8-9 and 14-15 by fitting three 2/4 phrases into two 3/4 measures. Notice the different placement of notes in the lower register instruments (Ex. Vc, Cb, Low Brass) in measures 8-9 and 14-15. In measures 8-9, to intentionally disrupt the triple meter pulse, Vc, Cb, and Low Brass play a quarter note on the 2nd beat instead of the first. Conversely, in measures 14-15, even though the melody was phrased in 2/4 in the same way as measures 8-9, Vc, Cb, and Low Brass stress the first beat of each measure to reconnect with the song's regular triple meter rhythm, continuing from measure 16. Our score reduction with visible 2/4 time signature notation can be seen in Fig. A. Fig. A – Score reduction with visible 2/4 time signature Example (B) - “Hedwig's theme,” from Harry Potter and the Sorcerer’s Stone (2001) (Orchestral Reduction) MM. 1-3 MM. 4-5 MM. 6-7 Measure 4: In measure 4 of Ex. (B), the Violin stresses the 3rd eighth note of the third triplet (Ⓐ). Since the music previously had accents on the 1st and 3rd downbeats, this sudden upbeat accent subverts the rhythmic flow of the song. Measure 5: On the 2nd beat (Ⓑ) of measure 5, two triplets in the Violins and Woodwinds are slurred together with staccato, to be performed on the second notes of each triplet. As a result of the slurs and staccatos, the phrase now has to be played with multiple bows (or breaths), dividing the two triplets into 3 rhythmic stresses. Example (C) - “Witches, Wands and Wizards,” from Harry Potter and the Prisoner of Azkaban (2004) MM. 1-7 MM. 8-13 MM. 14-17 Ex. (C) is an excerpt of the first 17 measures of the music, but the whole piece is well worth studying as it displays a masterful use of rhythm. Measures 5-7: The song is set in 3/4 time, but by placing accented dotted quarter notes across the barlines between measures 5 and 7 in the brass, the piece sounds as if it's temporarily escaping from 3/4. In this particular section, with the brass and high strings at the focal point of the music, the displaced accents help to add more confusion to the rhythm. The rest of the instruments play in a regular 3/4 rhythm. Fig. B presents a new interpretation of the score with displaced rhythmic accents (the mock-up contains only brass & timpani without any other instruments). Fig. B Measures 13-17: In measures 13 and 14, while the woodwinds emphasize the downbeats with rhythmic stress, the high brass play consecutive offbeat quarter note figures to add tension until the final upbeat of measure 14. The time change in measure 15 also assists in breaking away from the regular 3/4 rhythm by dividing a one-measure phrase into two separately accented 3/8 measures. (Refer to Fig. C for the 3/4 notation of the merged measures 15 and 16). Fig. C - Measures 15&16 from the original score notated in 3/4

Hi Everyone! Having just checked the DDP—which is the package of data sent for CD manufacturing and is unalterable from the point it is packaged—there are no clicks present in this cue. There were clicks, however these were removed prior to this step. The Intrada website samples may not necessarily reflect the final data. Chris

This is not the time or the place to perform some kind of a half ass autopsy on a fish! And I am not going to stand here and see that thing cut open and see that little Heidi girl spill out all over the dock!

The interesting thing is that Williams's concert work has become much more innovative in the last 10 years--and I expect the piano concerto to push things further. Plus, the use of the flute in the BFG was all sorts of fresh.

Yes...the cds are finally in. Thank you everyone for your patience. Never gonna do a surprise announcement again lol Hold tight...the monkeys are gonna be working around the clock MV https://filmscoremonthly.com/board/posts.cfm?threadID=156024&forumID=1&archive=0

I think Intrada should offer us a monthly subscription plan so that we can subscribe to 'Inchon'. This way, each year, we could receive the latest edition.

Given labels have been upfront about how approvals from studios can really fuck over when releases come out (we're seeing this with Nightbreed and Octopussy), plus the fact every previous edition of Inchon has sold well for them, I really don't know why we must ultimately remain angry that they're basically doing what they can to keep doing business. Could things have been handled better? Sure, but I at least appreciate the transparency versus baselessly speculating that re-releases like these are purposefully designed to swindle the consumer.

I suspect this is a common dilemma for the labels and producers when they don't really know whether they've found the best possible elements, and they have a budget and effort they can put towards investigating sources. When I heard on the podcast that the TLW alternate tracks weren't included in the box because there effectively wasn't much thought on what alternate material might be available (not lack of space, tape condition or any normal reason), it was a very rare moment when I went from 'cool tracks!' to actually being a bit miffed that these interesting alternate takes/mixes are now only available on another $30 set and not on the supposedly definitive box... and that's the reason... wtf? But producers like Mike/Roger have to deal with us fans hounding at the door demanding a score now, sitting there with piles and piles of tape, not knowing what's on them and whether another pile over there might contain what they want, and with budgets and schedules calling. I'm not completely defending Intrada's thinking, but they made a mistake based on incorrect advice and... it happens.

Not sure where else to post this (do we have a general homage/plagiarism thread, or just one for Williams and one for Horner?), but I was listening to some Poulenc and the beginning of this melody sounded familiar...

The percussion quartet was released in 2022! Third Coast Percussion released it in the album 'Perspectives'. It got two Grammy nominations.

And I suggest this cover:

That looks like a huge pile of shit. After Godzilla Minus One, I don't think I can tolerate this level of silliness in a Godzilla movie, and that's saying something

You should! Yavar

At this point the best score Oscars should be reshaped in Williams's image and renamed "Johnnies". Although I suppose captions under industry photos would then be quite unfortunate. "Here is this year's winner holding his Johnny".

Whoever wrote that description have no idea what they're talking about...

I know our sense of time has gotten severely warped in recent years, but is four years really too soon for this? Poor LLL had to deal with getting the better Die Hard materials after barely just repressing their previous edition of the score. It's kind of where the ill-conceived notion of labels deliberately withholding stuff came from for some, even.

Episode XII part I: The Return of Desplat Episode XII part II: The Sacking of Desplat

The album is well with hearing although have to admit that I enjoyed the non-Elfman percussion works more (good though it is). Definitely feel that the percussion concerto is the superior work so looking forward to hearing that again (having loved seeing it performed live in London).

Well, if you can call an unused song in a score that was unused for a big market "famous"...

I really love this score! Main theme is fantastic and the action cues always bring me a lot of joy! Smaller cues like Robicheaux Reunion, A Bear In People's Clothes or The Deserter are beautiful. Final cue Seven Riders is so cool how Horner theme is played with the rhythm of Bernstein's theme. I feel it's all glorious stuff.

There are several middle eastern elements in BLADE RUNNER, especially for the sequences where Deckard walks around the marketplace. Personally, I didn't get that many BLADE RUNNER vibes in the clip (perhaps some of the Yamaha CS-80-like bits towards the end), but by golly, how I loved that cue! The second cue is a little rougher to get into, but not bereft of value. Bring on the whole thing already!

Zimmer always seems bitter that Dark Phoenix never got traction, so it is almost like he is honoring that score in spirit here. The texture here is far more interesting though.

I think “A Time of Quiet Between Storms” is very similar to the music from the last trailer. Really cool to hear the Atreides theme in this form.

Elfman recorded...something with Royal Liverpool Philharmonic this month. Elfman previously recorded his percussion concerto with them last summer. Danny Elfman Recordings with RLPO! - Bridgewater String Quartet It mentions a concert work called 'Are You Lost?', which, after a bit of digging, seems to be an eight-minute piece that was recorded in August of last month, too. Are You Lost? | Faber Music It's clumsily written, but it seems to imply that the percussion concerto, Wunderkammer and this "Are You Lost?" thing will be released together.

Your grandmother was Marie Antoinette?

Somewhat begrudgingly, as it seems there won't be a proper extended version announced of The Phantom Menace to mark its 25th anniversary... let's listen to this peculiar disc, which should be taken somewhat like an "Isolated score," but on CD. In the absence of bread, one resorts to cake, as my grandmother would say!

I really like the disaster strings rhythm. That used to be one of his 1970's signatures for tension risers but he doesn't do it anymore.

And she had to conduct the Ozawa tribute the next day. Quite a special programme for a guest conductor.

I'm not a musician (at least not a professional one) and I'll express myself in non-technical terms, but I've always noticed, first in Star Wars, that John Williams had a fascination for rhythm. Whether it's carried by percussion or even in the "notes," in a more subtle way. All this to say that I'm delighted that real specialists have delved into this aspect of John Williams' art because, truly, for me, the way John Williams sounds "rhythmically" is 100% part of why he's my favorite composer!

It's more than likely because the writers and screen actors strikes stalled production on a lot of these that they're coming out with 5 next year, maybe after that it'll be back to a couple.

On Valentine's Day, I found it fitting to watch again this film. One of my favorite movies that holds a sentimental value, as it was the first soundtrack album I ever listened to. If it wasn't for Keanu Reeve's performance, I would consider it a masterpiece. I adore the production (music, costumes, make-up, photography, sets etc.) and I think Gary Oldman is great in his role, albeit a bit theatrical more than needed.

'Minus One', to writer-director Takashi Yamazaki's credit, managed to make me feel emotionally invested and to really care about the fate of all the human characters. But I think it's unique in that way—and it would be unrealistic to expect that from all monster movies going forward... I also think that even if Yamazaki himself did a sequel, he'd have trouble replicating the alchemy that made this one so compelling. But I hope he proves me wrong. As for Hollywood, the best I can hope for is that they don't make the characters so annoying that I want to see Godzilla stumble and accidentally crush them.

New video posted yesterday on February 13th by Mattia Chiappa.

Although it's not perfect, there is a lot of work behind this video, and in some parts, I literally had tears in my eyes (e.g. when he mentions Hook) because he explains in not-so-complex words (even for a non-professional musician like me) WHY WE LOVE John Williams. I liked the ending a bit less, where he laments that John Williams' latest soundtracks bring fewer innovations, stylistically speaking. My friend, we'll talk about it again if both of us make it to 90, about the evolution of our 'style' hehe. "It's not because I'm an old apple tree that I give old apples." - Félix Leclerc (translated from french: « Ce n'est pas parce que je suis un vieux pommier que je donne de vieilles pommes. »)

Except there was nothing actually *wrong* with the 2020 set, any more than the 2013 or 2006 editions. Those all sounded way better than Intrada's original 1988 expansion! So by your logic, Intrada is obligated to send this new 2024 "fix" to all purchasers of those previous four editions of theirs, which all neglected to check/use the Len Engel "safeties" as a source? Yeah, sounds like that would be a great business decision for them. At a certain point you've gotta let go of the entitlement and realize you aren't obligated to purchase this new version, but them offering an improvement when they become aware of an opportunity for improvement is better than NOT making that improvement available. If you remove the business incentive to put out a new release by kneecapping them with the expectation of them freely replacing all copies of 2020 purchasers, then golly they're just not going to bother offering this new and better sounding version. Surely you can realize that? Hell, even if this new 2024 edition didn't cost them anything to produce and manufacture, the shipping costs alone of sending out your proposed free copies would be astronomical if concentrated on Intrada. People who feel screwed are going to just have to get over it, but I suspect there are fewer people in that boat than you think and most previous purchasers are either happy enough with the version they have, or are mega Inchon fans like me and are just happy to have the score in better sound. New cover art to distinguish this version from the last version would have been nice, yes. You may not know who's going to get this but I'm guessing Intrada has some idea, since their previous four expanded editions of this score sold really well for them. (Actually I think their 1988 edition sold the worst, but every edition since then has sold better than it did!) When it's Jerry Goldsmith, it seems that it hardly matters if the film is hardly known. I suspect besides "JG purists" there are also some people out there who simply missed out on the 2020 edition and will want to grab this one since the score is rather unexpectedly available on disc again. But even if you're right and interest is limited to "JG purists"... I think that's a lot of people. Yavar

I hope no time is too soon for this. I wouldn't want to miss out on eventual/potential proper SW releases just because someone decided it's too soon after Disney's umpteenth re-release of the old versions.

Don't know about anyone else, but when Zimmer's in modern blockbuster mode, I don't anticipate anything other than generic action. That's not what that the draw of these scores is - I really like the atmosphere and slightly otherworldly tint of the first score. The action will probably be generic pap in this one too but when he's given a new, interesting story and canvas for extended pieces, he could do some engaging music. I can easily see why it didn't - it's a load of droning and stringing for an hour. ... which I happen to rather like in this case as a nice background listen when doing something else, but it's not a work of art.

It's a lot of fun. They uploaded performances of the four movements to Youtube, too.

Long ago I was very much into tango music. From there I came to music of Astor Piazzolla. And for me it was a special recognition to realize that, even though this music was highly rhythmically dynamic and powerful, it managed to do so without any use of percussion instruments. This was, when I started to find it kind of dull and poor, when composers tried to create power and dynamics in their music by just adding percussion layers into their music, especially in orchestral music. And in orchestral music Williams in my view is the absolute master, when it comes to rhythmical power of an orchestra with the sparsest use of percussion and my that creating the biggest power in the music, because these percussion orgies often create a "more is less" feeling, when I listen to it. As this is a topic, that really concerns me, I am going to read the article above with great interest when I have time. Looking forward to it.

You definitely should. Scores don’t get much grander than that. Amazing themes, rich orchestrations, classic romanticism, thrilling action writing, it’s got it all.

Yes, in my interview with him. If I remember correctly, he had been listening to a lot of Mahler before he started composing CC, and it had a great influence on his writing. But I’ll check our conversation later and quote him.

How thoughtful of them, to lock the sessions-style assembly to the physical release where you can't assemble it properly for yourself without ripping first, and only digitally release the preassembled out of order programs with which you can do nothing. Makes total sense!

Overall, I agree that all the specialty labels have their respective lists of fumbles/issues when it comes to expanded releases, in terms of sound quality, editing issues, artwork/design, etc. However, from my limited understanding (as I've only been collecting expanded scores for 2-3 years) I've seen that people online seem to have consistent issues with Douglass Fake's editing and mastering work, an issue which only applies to Intrada. I have enormous respect for the excellent work the company has done, and he should be respected and applauded for being its CEO and founder. But if his editing/mastering skills are not up to scratch with others in the same field who work on these expanded scores (and many of whom have worked on Intrada's expansions), it seems like a foolish (or selfish even) thing to decide that he will go ahead and do this work anyway, when there are others who are simply better at the job. Given that these labels are so niche in the wider scope of music releases, and given the extreme amounts of time and effort that go into each release, you would hope the priority would be on creating the best presentation (and preservation) of each and every score (both for composer and consumer sakes). But when it so happens that after the bulk of the work has been completed in financing, sourcing, retrieving, remixing, approvals, etc. the CEO decides that he likes doing a little bit of editing and mastering here and there, even if he's not the greatest at it, and ends up tarnishing (or at the least, diminishing) the final product, that doesn't sit right with me as a consumer. There's nothing wrong with admitting that there are others better than you at a particular task and allowing them to perform that task instead of you; in fact, more people would respect that decision as it shows a commitment to producing the best product, rather than doubling down and continuing to haphazardly do the work yourself. SIDE NOTE: The same goes for Kay Marshall as design director; I (and it seems many others too) don't find her designs for Intrada add value to the premium products they are selling, and actually lessen their visual appeal. I know this is nowhere near as important as good sound quality, but again, Intrada are creating exclusive, limited releases, so why shouldn't they look as good as possible? Imagine going to buy a new high-performance sports car; all the specs are incredible and it feels amazing to drive, but it's got a terrible paint job. I understand remaining loyal to someone who has been with the company since the early days, but if there are others who can do the job better, they should be hired instead. I don't work for Intrada, so I don't know the ins and outs of the business and why certain decisions are and aren't made. I'm just speaking as a consumer. Blast and lambast me all you like, but I've supported this label with plenty of my own money, and several of their releases I really do love (like Apollo 13, Cocoon, and The Land Before Time). I hope they are able to address and solve these ongoing issues so that I will have greater confidence in the quality of their products going forward and continue to support their work.

Thank you! Fair warning: I am aware I am in a minority on this film. But this was the first film where Hiddleston blew me away. And he and Hemsworth are having so much fun together. It has the best Asgard and it feels Viking and ancient. I love Hopkins in this. I concede the gift of when Thor 3 takes aim at a couple of my favorite parts that it skewers them perfectly. (The funeral and Loki's "death" scene. Right down to the music.) But the villain is pointless (sorry, Doctor) and the finale, while fun, makes NO sense. It did. But First Avenger was the movie I wanted to see, if you see what I mean. I concede that WS is an amazing film. It's so good that you scratch your head at the (also) dumb finale with the helicarriers because you've forgotten that you're watching a comic book movie. And of course this is the film that gives you the last scene of Endgame. It's been a long, long time. For me, that was it's secret. I mean, arguably some of the highest highs were in Falcon and the Winter Soldier. But it had some of the lowest lows. Started it, never finished it. Same with Secret Invasion. So at some point I should finish those and watch Echo. (I guess.) I thought She-Hulk was under-rated just because I thought Tatiana Maslany was wonderful. After that I probably forgave it a lot.

A bunch of Mozart overtures. Such joy. Such a shame he died so young.