The most exotic music, from John Williams

[Quintus 5,399]

Whether it be stylistically motivated (ethnical, region specific), or from a technical point of view (usage of atypical instruments), or both, which JW scores (or cues) stand out as some of his more curious, even avant garde efforts?

[Ollie 1,059]

Images.

[#SnowyVernalSpringsEternal 10,265]

Some of the source cues from TPM are pretty far out there.

[Ollie 1,059]

John Goldfarb.

[Quintus 5,399]

I think Close Encounters borders on the eccentric too, particularly when the aliens are around. It's still a traditional score, but with some quirky moments thrown in there.

[Josh500 1,615]

Amistad and Memoirs contain some of my favorite exotic, (quasi-)region specific pieces.

[steb74 53]

In The Jungle (South America, 1936) from Raiders which is possibly my favourite piece of Indiana Jones music.

I think it's one of the greatest examples of orchestration I've ever heard.

Also, I love the Dagobah music, the slithering and almost asthmatic woodwind parts create such a sense of humidity and dank insecurity.

[TownerFan 4,983]

"La Bostella" from Penelope

[John Crichton 4]

Luthor's Luau.

[Hlao-roo 389]

The theme from The Legend of Zelda.

[Jay 37,337]

[Marian Schedenig 8,191]

Images doesn't strike me as "exotic". The ethnic parts of TPM and Seven Years in Tibet would be my picks.

[Uni 306]

It's not really "avant garde," but if we're talking ethnically exotic music . . . I actually think some of the Kryptonian themes from Superman fit the bill (those presented at the beginning the film, as well as the references in "Fortress of Solitude"). It may not qualify as extreme enough an example for you guys, but that's what first popped into my head. . . .

- Uni

[Charlie Brigden 7]

Ewok Feast/Part of the Tribe.

[Demondm810 399]

Padme's Ruminations

[indy4 155]

"Chase Through Couruscant"

I'll also add "General Grevious." I love the way JW treats the instruments as percussion. That cue is absolutely genius.

"Recollections" from CMIYC is pretty different.

All the ethnic music from Far and Away.

[Uni 306]

Padme's Ruminations

Oooo . . . good one.

- Uni

[Demondm810 399]

Padme's Ruminations

Oooo . . . good one.

- Uni

haha I remember first hearing it thinking "who WROTE this??"

[Luke Skywalker 1,794]

Theed spaceport. (AOTC)

[Muad'Dib 1,801]

"The Journey to Akator" (The mariachi part) - Most fun track from KOTCS!

[Josh500 1,615]

"The Journey to Akator" (The mariachi part) - Most fun track from KOTCS!

This reminds me, I love the Indian dance music from ToD...

[Wojo 2,453]

"The Journey to Akator" (The mariachi part) - Most fun track from KOTCS!

I prefer "El Desayuno" from The Treasure of the Sierra Madre.

[Romão 2,274]

In The Jungle (South America, 1936) from Raiders which is possibly my favourite piece of Indiana Jones music.

I think it's one of the greatest examples of orchestration I've ever heard.

Also, I love the Dagobah music, the slithering and almost asthmatic woodwind parts create such a sense of humidity and dank insecurity.

Great post We could have a whole thread just discussing JW's jungle music, also heard in Jurassic Park, Lost World, some parts of TOD. He has created very unique and characteristic orchestration techniques to depict the jungle that are among the most evocative and unique I've ever heard. He can't really convey the feeling of the place-

[Datameister 2,041]

Oh my goodness, yes. Williams' jungle music is almost always amazing. All the ones mentioned above are just so great. Evocative is exactly the word I'd use...there's just something about it that puts you right into that dense, mysterious environment. I don't know how he does it.

[steb74 53]

In The Jungle (South America, 1936) from Raiders which is possibly my favourite piece of Indiana Jones music.

I think it's one of the greatest examples of orchestration I've ever heard.

Also, I love the Dagobah music, the slithering and almost asthmatic woodwind parts create such a sense of humidity and dank insecurity.

Great post We could have a whole thread just discussing JW's jungle music, also heard in Jurassic Park, Lost World, some parts of TOD. He has created very unique and characteristic orchestration techniques to depict the jungle that are among the most evocative and unique I've ever heard. He can't really convey the feeling of the place-

Cheers man, yeah there's plenty of moments scattered about in JP and TLW, I love 'The Trek' and in general I much prefer the more smokey atmospheric music as opposed to the action based material, which of course I enjoy very much.

I just love Williams' approach to the jungle sound.

In TOD I think the second half of 'Slalom on Mt. Humol' is just magnificent, there are also some of those kind of moments in 'Indy and the Villagers' and 'The Scroll / To Pankot Palace', to a lesser degree in some ways but still there.

I think 'In The Jungle (South America, 1936)' is probably in my top 5 favourite Williams cues though, I honestly can't get enough of it.

The way the strings start to creep in like chinks of light through the trees and then conjure up the idea of such humidity, the heavy, almost lazy brass just provides such density. There's a quick stop almost halfway through, with a little percussive hit with a gong followed by a beautiful struggling trumpet line.

It's just magnificent and sets up the tone of the film so well.

Oh my goodness, yes. Williams' jungle music is almost always amazing. All the ones mentioned above are just so great. Evocative is exactly the word I'd use...there's just something about it that puts you right into that dense, mysterious environment. I don't know how he does it.

Exactly, he just puts you right in it.

[indy4 155]

I've always liked "In The Jungle," but listening to it now I've never realize how much is going on in that cue.

[steb74 53]

I've always liked "In The Jungle," but listening to it now I've never realize how much is going on in that cue.

There's as much going on as there is in a jungle and I think that's why I'm in love with that piece of music.

[Datameister 2,041]

Mmmm...I'm gonna go listen to it...

Delicious. Weird and compelling.

[steb74 53]

Mmmm...I'm gonna go listen to it...

Delicious. Weird and compelling.

Good man! ...now go and give Williams a call

(I can't stop thinking about it, telling me that you live close by to him has damaged my mind and I've lost all perspective!!)

[Datameister 2,041]

Me too!

[Romão 2,274]

In the Jungle and The Well of the Souls are, IMHO, the best tracks from Raiders.

In the Jungle is quite an amazing piece for a sequence where not much happens. It's a tone poem of sorts. My favorite moment is at 3:29, where some kind of woodwind (not sure which honestly), provides that great backing to the ominous brass phrase. It's a touch that makes such a difference and it's a totally not obvious aproach. And once again, it is piece so greatly construced, it doesn't even sound like it was made for film, so defined is the pace and evolution of the piece.

And steb74, I've been enjoying your posts very much, nice to have you on the MB.

[Quintus 5,399]

Gutted I didn't start out the thread with In the Jungle - it was the inspiration for the damn thread! I held off with it 'coz I thought I'd come across as being too literal, do'h!

[Morlock 11]

"La Bostella" from Penelope

First thing that came to mind.

[Josh500 1,615]

In The Jungle (South America, 1936) from Raiders which is possibly my favourite piece of Indiana Jones music.

Yes. One of my all-time favorite cues.

Dark, ominous, menacing, and somehow puts you right in the middle of the jungle and the adventure...

[Naïve Old Fart 9,511]

I'm not sure if it is exotic (it certainly sounds ethnic), but the underscore for the sequence in "Ep.III", on Couroscant, where there is intercutting between Padme, and Anakin ("Padmes Ruminations"?), is wonderful. It features a wordless, solo female voice, over the top of what appears to sound like synthesisers. It is a musically chilling moment, and provides a short respite form all the stumm und drang of the rest of the film. It is possibly the best piece of scoring for all the prequels.

[TownerFan 4,983]

I'm not sure if it is exotic (it certainly sounds ethnic), but the underscore for the sequence in "Ep.III", on Couroscant, where there is intercutting between Padme, and Anakin ("Padmes Ruminations"?), is wonderful. It features a wordless, solo female voice, over the top of what appears to sound like synthesisers. It is a musically chilling moment, and provides a short respite form all the stumm und drang of the rest of the film. It is possibly the best piece of scoring for all the prequels.

I'm not sure I agree. I always found this piece too much detached from the rest of the musical style of the whole film (and from Star Wars in general). It is surely effective, but I'm not sure it's what Williams would have naturally done if scoring decisions would have been up exclusively to him. I think it's one of those case where Lucas asked to take a cue from the temp score (maybe it was temped with Gladiator or something similar). Personally, I would have preferred a subtle orchestral cue, possibly with Anakin's Theme morphing into the Imperial March (that's the moment where Anakin turns to the Dark Side after all), with hints of Across the Stars as well.

[Ollie 1,059]

Personally, I would have preferred a subtle orchestral cue, possibly with Anakin's Theme morphing into the Imperial March (that's the moment where Anakin turns to the Dark Side after all), with hints of Across the Stars as well.

I think that was the musical moment quite a few of us were waiting and hoping for.

[Naïve Old Fart 9,511]

Personally, I would have preferred a subtle orchestral cue, possibly with Anakin's Theme morphing into the Imperial March (that's the moment where Anakin turns to the Dark Side after all), with hints of Across the Stars as well.

I think that was the musical moment quite a few of us were waiting and hoping for.

He does like to confound expectations, does our Johnny Boy! Most people-myself included-were expecting to hear a bellicose statement of D.V.'s theme when we first see him in "Ep.III". What do we get? Qui-Gon's funeral music. Brilliant!

[TownerFan 4,983]

He does like to confound expectations, does our Johnny Boy! Most people-myself included-were expecting to hear a bellicose statement of D.V.'s theme when we first see him in "Ep.III". What do we get? Qui-Gon's funeral music. Brilliant!

The counterpoint between the funeral music and Vader's theme during the final scenes of ROTS is surely one of the highlights of the prequels (it's also one of the very few scenes in the prequels where Lucas has the guts of letting only the music speaks).

However, Williams himself admitted in this interview that Qui-Gon's funeral music was used at Lucas' suggestion and that he would have written something different if it would have been up to him:

THR: There is another great montage in "Episode III" that cuts between Padme dying and Darth Vader being born. A piece of funeral music you first wrote for 1999's "Star Wars: Episode I -- The Phantom Menace" plays through that, and it sounds wonderful.

Williams: I had the sequence later in the process and (the score) was fairly complete, and we decided to use that funeral music from the earlier film -- the death of Qui-Gon -- and agreed that it was the right music. I could have written another piece that might have as much impact or possibly more, but George and I felt it would be good to recapitulate themes where they would have the most impact for people -- and that funeral cortege piece seemed to work equally well in this new piece, so all I had to do was extend it and reorchestrate it a little bit.

[Ollie 1,059]

I actually agree, I think the moment works from a musical standpoint.

I think the missed musical opportunity came when Anakin is marching into the Jedi temple.

[steb74 53]

Most people-myself included-were expecting to hear a bellicose statement of D.V.'s theme when we first see him in "Ep.III". What do we get? Qui-Gon's funeral music. Brilliant!

I'm kind of glad it wasn't used there, we'd already heard subtle statements of Vader's theme previously when Palpatine awards Anakin his Sith title.

I might of liked something more low key along the lines of how it's used at the end of Empire when vader is reaching out to Luke or even some kind of reworking similar to Vader's death but perhaps a little more bold and twisted.

What we did get though I found quite interesting because for me that music is more of a requiem for a jedi and even something related to the prophecy.

The counterpoint between the funeral music and Vader's theme during the final scenes of ROTS is surely one of the highlights of the prequels (it's also one of the very few scenes in the prequels where Lucas has the guts of letting only the music speaks).

Indeed, it's magnificent!

However, Williams himself admitted in this interview that Qui-Gon's funeral music was used at Lucas' suggestion and that he would have written something different if it would have been up to him:

THR: There is another great montage in "Episode III" that cuts between Padme dying and Darth Vader being born. A piece of funeral music you first wrote for 1999's "Star Wars: Episode I -- The Phantom Menace" plays through that, and it sounds wonderful.

Williams: I had the sequence later in the process and (the score) was fairly complete, and we decided to use that funeral music from the earlier film -- the death of Qui-Gon -- and agreed that it was the right music. I could have written another piece that might have as much impact or possibly more, but George and I felt it would be good to recapitulate themes where they would have the most impact for people -- and that funeral cortege piece seemed to work equally well in this new piece, so all I had to do was extend it and reorchestrate it a little bit.

Thanks, very interesting

[John Crichton 4]

I think the missed musical opportunity came when Anakin is marching into the Jedi temple.

Yes!

Reusing the funeral music might not have been strictly the best idea, but just the tone is so perfect. So many lesser composers would have gone dark, suspenseful, scary, etc., but the tragic chords work so well there. And the solely orchestral statements of the funeral theme intermixed with the Imperial March afterward are genius.

[steb74 53]

It's disappointing as that particular piece remains officially 'unreleased' ....

[Datameister 2,041]

Seriously! Of course, since there were two cues involving that theme, Williams chose to include the one that was most similar to what we already have on CD.

[steb74 53]

In the Jungle and The Well of the Souls are, IMHO, the best tracks from Raiders.

In the Jungle is quite an amazing piece for a sequence where not much happens. It's a tone poem of sorts. My favorite moment is at 3:29, where some kind of woodwind (not sure which honestly), provides that great backing to the ominous brass phrase. It's a touch that makes such a difference and it's a totally not obvious aproach. And once again, it is piece so greatly construced, it doesn't even sound like it was made for film, so defined is the pace and evolution of the piece.

And steb74, I've been enjoying your posts very much, nice to have you on the MB.

Sorry I missed this post man!

That's very nice of you to say so, thanks!

We'll have to have some thoughts and comments posted about Williams' errrr, anti-xotic music for Hoth in the Empire thread!

The man writes just as well for the cold

Cheers (I'm off some some well earned sleep zzzzzzz)

[Datameister 2,041]

That he does! All the Hoth music is brilliant, too...and so different from the Dagobah music. I especially love all of the cues for the battle of Hoth. Fantastic action music. Very non-generic.

[Quintus 5,399]

You mean by today's standards it's not generic. That approach to action music was the norm, back then.

[Datameister 2,041]

I wasn't trying to imply a snide remark about other composers' music or Williams' modern output or anything. I simply meant that the music he wrote fit those particular scenes very, very well. It totally nails the broader emotional context as well as the specific events that are happening. It wouldn't fit the action as well in another Williams score, or in another Star Wars battle, or even in another scene from ESB. Hence, it is non-generic. Do you disagree?

[Quintus 5,399]

Whoa Data, I didn't think you were being snide at all. And yes I agree with you

[Charlie Brigden 7]

I love that the battle of Hoth is almost anti-melodic, if that makes sense. It has that 'dah-dah-dah-der-der-der-der-der' riff which I love, and it's a really brutal way of doing it. It's got so much of an amazing sense of tension though, I mean you know Wedge is going to bring down the walker, but the way JW presents the nick-of-time is-he-gonna-do-it? moment as the speeder is circling is just sublime. But ESB has so much amazing tension, like in 'Hyperspace' when the Falcon is trying to get away from the Executor. It's chillingly good.