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Analysis of John Williams Themes


Ludwig

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EDIT: Part 2 is now complete - the Star Wars main title:

http://www.filmmusicnotes.com/john-williams-themes-part-2-star-wars-main-title/

As an homage to our beloved JW, I am writing a series of blog posts over the next few weeks on some of his best-loved themes, starting with... The Force Theme! (Yeah!)

Part of my goal with this blog is to make some of the music theory stuff I've learned more accessible to the average music-lover. The blog is still very new, so I'm still trying to find the right balance of being informative and understandable.

If you're interested in the structure of music, I'd very much like to hear your opinions. Things you feel work well, things that might be improved, that sort of thing. Or hey, even if you just think it's awesomesauce, I'd love to hear that. ;)

Anyway, here's the link:

http://www.filmmusicnotes.com/john-williams-themes-part-1-the-force-theme/

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Lovely! And very to the point. The "extra-musical" semantics of Williams' thematic constructions are too often taken for granted, and not discussed as the magnificent piece of musical dramatic craftsmanship that they are.

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Thanks, guys!

The "extra-musical" semantics of Williams' thematic constructions are too often taken for granted, and not discussed as the magnificent piece of musical dramatic craftsmanship that they are.

Can't agree more. And I think that's at the heart of what makes this music so engaging, memorable, and fitting for what it represents in any film.

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Great work Ludwig!

This is indeed one of the best Williams' themes..

well, i might want to add to Marcus' comment, that not only the extra musical semantics are taken for granted, but the music itself sometimes.

I mean, most people will listen to it, and won't understand the struggle to come up with such a melody. I mean, he may have tried for days to find this theme which seems inevitable, as he often has stated in his interviews..

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well, i might want to add to Marcus' comment, that not only the extra musical semantics are taken for granted, but the music itself sometimes.

I mean, most people will listen to it, and won't understand the struggle to come up with such a melody. I mean, he may have tried for days to find this theme which seems inevitable, as he often has stated in his interviews..

Yes, and I'm sure you speak from your own experience as well, filmmusic. It's easier to appreciate the beauty of a well-crafted melody when you've struggled yourself over exactly this kind of thing - I know because I have as well. And I never come up with something like the Force theme!

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Agreed, as a composer myself, crafting a good theme is often the hardest part, which is exactly what makes me appreciate some as gifted with themes as John Williams all the more.

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That's really a great job. One thing that would be very useful is how themes get adapted and morphed through the films. In this blog, Andrew Melton does a good job exploring how JW adapts the Force theme throughout the film and this is something you just don't hear in modern film music - that formidible skill set that JW has at his advantage...

http://www.andrew.melton.com/podcast/audio/williams_forcetheme.mp3

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In this blog, Andrew Melton does a good job exploring how JW adapts the Force theme throughout the film and this is something you just don't hear in modern film music - that formidible skill set that JW has at his advantage...

http://www.andrew.melton.com/podcast/audio/williams_forcetheme.mp3

Thanks for this. I gave it a listen and found it to be very well done. (BTW, how did you find this?)

I liked his piano reductions - you can really hear the orchestra coming through (though you might need 3 or 4 hands to play some of what he had!).

And it was just funny to hear the Force theme put into a major key. I don't know what it is, but minor key themes tend to sound just plain silly when they're put in major.

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In this blog, Andrew Melton does a good job exploring how JW adapts the Force theme throughout the film and this is something you just don't hear in modern film music - that formidible skill set that JW has at his advantage...

http://www.andrew.melton.com/podcast/audio/williams_forcetheme.mp3

Thanks for this. I gave it a listen and found it to be very well done. (BTW, how did you find this?)

I liked his piano reductions - you can really hear the orchestra coming through (though you might need 3 or 4 hands to play some of what he had!).

And it was just funny to hear the Force theme put into a major key. I don't know what it is, but minor key themes tend to sound just plain silly when they're put in major.

He was a classmate and old friend. Since we are both JW fans, we talked this topic frequently always trying to unravel the secret formula. He is an excellent pianist. Very skilled. We were talking about doing an involved analysis of all Star Wars themes but you beat us to it!

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In this blog, Andrew Melton does a good job exploring how JW adapts the Force theme throughout the film and this is something you just don't hear in modern film music - that formidible skill set that JW has at his advantage...

This triggered another thought about the Force theme. It's a good point that JW adapts the theme throughout the film. This even happens within the theme itself. I didn't mention this in my analysis, but it's really quite fascinating that the theme is composed of four ideas, the first three of which are variations of each other, the last a cadential idea to close the theme off. What's fascinating is that we can't really say that the first three ideas are either exactly the same as one another or completely different. If we wanted to classify the theme as a certain type using what theories exist, we would have to decide one way or the other because that's what traditional classical themes do, but Williams does neither.

It's just a great example of how Williams stretches traditional ideas beyond what we already know.

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Great blog Ludwig! Are you going to do another later post on how the force theme is altered/developed in the other films (i.e. Neapolitan 6th replacing IV in ROTS and for the emperor's death in ROTJ)?

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Great blog Ludwig! Are you going to do another later post on how the force theme is altered/developed in the other films (i.e. Neapolitan 6th replacing IV in ROTS and for the emperor's death in ROTJ)?

Well, I'm always looking for new ideas to write about, so that's definitely one I'll keep in mind. Because time is so short right now, I'm just going to analyze themes in the context of individual films because it doesn't require a lot of extra viewing/listening. But still, a good idea. (Y)

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Just to let you know, someone just left an "interesting" comment on the Force theme post:

http://www.filmmusicnotes.com/john-williams-themes-part-1-the-force-theme/

I will certainly join the fray, but I thought I might call on some of my allies here for extra defence...

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OMG! I have received this kind of criticism some times too.. I'm really tired of it and I really don't know what to say..

the thing i would say to him is ask him if he has ever composed music himself, and that to come up with a melody like this is much more difficult that writing cluster and effects music in the vein of contemporary composers.

Also, the fact that Star Wars is a popular film and franchise, doesn't dimish the quality of music.

It's a pity many people confuse these things and think that popular=cheap, bad, without any quality

But if i wrote that, maybe he would reply, and then I should have to reply back, and really i can't put myself again in this..

by the way, what does plebian mean? i can't find it in my dictionary..

Anyway, that post made me really angry!! But each has his own opinion. If only it wasn't accompanied by a veiled sarcasm...

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The funny thing Michael is that everyone believes that Williams' music has been overexposed in an analysis level, and while this is true in a music-relation-to-film field, it's far from true in a musicological level!

Exactly the thing that Ludwig did and I'm trying to do in my dissertation..

If the greatest film music of all time hasn't been analysed first, how can anyone move to more obscure things?

it's like writing dissertations and analyses on Scelsi (who was mentioned in that comment), without a single analysis existed on Mozart or Beethoven!

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the thing i would say to him is ask him if he has ever composed music himself, and that to come up with a melody like this is much more difficult that writing cluster and effects music in the vein of contemporary composers.

You mean contemporary film composers who just rely on one-click cluster buttons on their VSTs? There's a lot more to contemporary concert music than that.

by the way, what does plebian mean? i can't find it in my dictionary..

It means common, uneducated or lower class. It comes from ancient Rome (the upper classes were the patricians), and the English language has borrowed the word.

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the thing i would say to him is ask him if he has ever composed music himself, and that to come up with a melody like this is much more difficult that writing cluster and effects music in the vein of contemporary composers.

You mean contemporary film composers who just rely on one-click cluster buttons on their VSTs? There's a lot more to contemporary concert music than that.

>>>>>>by the way, what does plebian mean? i can't find it in my dictionary..

It means common, uneducated or lower class. It comes from ancient Rome (the upper classes were the patricians), and the English language has borrowed the word.

No, i don't mean VSTs. I mean contemporary composers of classical music.

Eg. it still seems to me more difficult to find an inevitable melody than to write a Penderecki piece which is like sound effects. Not to diminish its quality of course, everything has its merits, but i'm talking about what is more difficult for the composer (being a composer myself)..

if anyone finds the opposite difficult (writes successful melodies that aren't simplistic and unimaginative but finds difficult to write cluster music).. well... I don't think there are composers like that..

edit: hehe, the funny thing is that "plebian" comes from the greek word "plivios" (and I'm Greek). Hadn't realised that!

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Just to let you know, someone just left an "interesting" comment on the Force theme post:

http://www.filmmusicnotes.com/john-williams-themes-part-1-the-force-theme/

I will certainly join the fray, but I thought I might call on some of my allies here for extra defence...

Ludwig, I thought your response was excellent. Tolerant but stating your preference for more melodic music. I really don't think there is a problem with Ronald's opinion. Not that I agree with him, but he is basically stating a preference for non-thematic music that features exotic textures rather than melody. At least he seems open minded enough to have explored a wide range of music but I agree with you, he doesn't realize how little has been written about JW and his substantial impact on scores and genres. I also think textures are MUCH easier to compose than melodies. You might have heard the story that Jerry Goldsmith got in a fight with Ridley Scott about Scott's wanting to throw out the theme he wrote for Alien title sequence. What is in the film now was not Jerry's intention and it took him a few minutes to compose. It is a funny discussion on the Alien collector’s edition DVD where Jerry comments on his difficulties on that project. The important point is he struggled to come up with melodies that fit the mood and grandeur of space (something he excelled at) but the textural stuff was extremely quick and easy yet to listeners, sounds so much more sophisticated. I think Ronald is mistaken in thinking JW is simple because it doesn't have the textural complexity of some of the composers/films he listed but in reality - that simplicity is much harder to pull off well and is much more complex than it sounds. Anyway, I thought your response was great and his comment wasn't that offensive.

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Ludwig, I thought your response was excellent. Tolerant but stating your preference for more melodic music. I really don't think there is a problem with Ronald's opinion. Not that I agree with him, but he is basically stating a preference for non-thematic music that features exotic textures rather than melody. At least he seems open minded enough to have explored a wide range of music but I agree with you, he doesn't realize how little has been written about JW and his substantial impact on scores and genres. I also think textures are MUCH easier to compose than melodies. You might have heard the story that Jerry Goldsmith got in a fight with Ridley Scott about Scott's wanting to throw out the theme he wrote for Alien title sequence. What is in the film now was not Jerry's intention and it took him a few minutes to compose. It is a funny discussion on the Alien collector’s edition DVD where Jerry comments on his difficulties on that project. The important point is he struggled to come up with melodies that fit the mood and grandeur of space (something he excelled at) but the textural stuff was extremely quick and easy yet to listeners, sounds so much more sophisticated. I think Ronald is mistaken in thinking JW is simple because it doesn't have the textural complexity of some of the composers/films he listed but in reality - that simplicity is much harder to pull off well and is much more complex than it sounds. Anyway, I thought your response was great and his comment wasn't that offensive.

Thank you, karelm. I never just like to be outright dismissive of anyone because they might have a point I hadn't considered before. And even if they don't I have respect for differing opinions of others, as long as they express them in non-threatening ways. What I disagree with in Ronald's comment is not his sentiment - that I can understand - but his implication that those who like this kind of music are "juvenile" etc. He has no right to condemn others for their likes or dislikes - that I find offensive. Anyway, I know I'm preaching to the converted here, but I thought I would say how I saw things.

Oh yes, I saw that Goldsmith interview. He seemed so disappointed! He slaved over this romantic sounding main title, and the other one he said took him "five minutes"! He also didn't like that they used a cue from one of his older films instead of what he wanted to write for it. Poor Jerry!

And yes, I think you're right about the textural complexity being mistaken for overall musical complexity. I suppose we're all in agreement in this thread because that's the sort of thing others have said about Williams melodic style as well. As with anyone who is a master of their craft, Williams just makes it look easy when it is anything but.

Thanks again for your response, karelm.

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You might have heard the story that Jerry Goldsmith got in a fight with Ridley Scott about Scott's wanting to throw out the theme he wrote for Alien title sequence. What is in the film now was not Jerry's intention and it took him a few minutes to compose. It is a funny discussion on the Alien collector’s edition DVD where Jerry comments on his difficulties on that project.

I think it's important to take that in context. By 79, Goldsmith had developed a shorthand for textural/sonorist scoring, that enabled him to come up with a dense, avant-garde texture with the minimal amount of time and effort. Compare that to the complexity, innovation, and guile behind PLANET OF THE APES, THE MEPHISTO WALTZ, or his cantata CHRISTUS APOLLO, and there's a huge difference. Nothing lazy about those.

I think Ronald is mistaken in thinking JW is simple because it doesn't have the textural complexity of some of the composers/films he listed

There's are the scores, composers and works he listed:

http://www.youtube.com/watch?v=qvjqQIWiaTU

http://www.youtube.com/watch?v=zLi3xxxjHDc

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i can't remember where i read it , but i seem to recall Jerry Goldsmith being very defensive of Alex North's rejected score for 2001. He raged against the temp that became the final score and it hinted at him not being very fond at all of Ligeti type texture music.

T

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Eg. it still seems to me more difficult to find an inevitable melody than to write a Penderecki piece which is like sound effects.

But Penderecki stopped writing like that in early 70s. As did Kilar, Gorecki and the rest of the 60s Polish school.

What you mean is the lazy shorthand used by a lot of film composers - James Horner being one of the worst culprits. Penderecki-by-numbers.

Not to diminish its quality of course, everything has its merits, but i'm talking about what is more difficult for the composer (being a composer myself)..

I'm a composer too, influenced a lot by a movement called spectralism. I'd say it's apples and oranges. Writing an inevitable, memorable melody and writing a piece of good contemporary concert music (that's a lot more than just "sound effects") that sustains itself and keeps the audience's attention, are from two different sides of the brain.

i can't remember where i read it , but i seem to recall Jerry Goldsmith being very defensive of Alex North's rejected score for 2001. He raged against the temp that became the final score and it hinted at him not being very fond at all of Ligeti type texture music.

T

Ligeti himself had moved on from that by the late 60s.

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Eg. it still seems to me more difficult to find an inevitable melody than to write a Penderecki piece which is like sound effects.

But Penderecki stopped writing like that in early 70s. As did Kilar, Gorecki and the rest of the 60s Polish school.

What you mean is the lazy shorthand used by a lot of film composers - James Horner being one of the worst culprits. Penderecki-by-numbers.

>Not to diminish its quality of course, everything has its merits, but i'm talking about what is more difficult for the composer (being a composer myself)..

I'm a composer too, influenced a lot by a movement called spectralism. I'd say it's apples and oranges. Writing an inevitable, memorable melody and writing a piece of good contemporary concert music (that's a lot more than just "sound effects") that sustains itself and keeps the audience's attention, are from two different sides of the brain.

i can't remember where i read it , but i seem to recall Jerry Goldsmith being very defensive of Alex North's rejected score for 2001. He raged against the temp that became the final score and it hinted at him not being very fond at all of Ligeti type texture music.

T

Ligeti himself had moved on from that by the late 60s.

shame...."micropolophony " was wonderful . And no disrespect to Mr North but the Moon Shuttle sequence in 2001 with "lux aeterna" was beautiful

t

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Prometheus, I was referring to specific Penderecki pieces...

yes, I know contemporary music is not just effects..

The point i wanted to make was that many people think that everything that is tonal is bad and of low quality, and everything that is not tonal is a masterpiece.

and I wanted to add, that it's a pity to see here (i don't know what's going on in other countries) music students writing all the the time this "effects music" as I call it (thinking that they're writing high quality music), and if you ask them to write an effective melody they wouldn't know how.

That is a gift that very few people have, one of them being Williams.

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and I wanted to add, that it's a pity to see here (i don't know what's going on in other countries) music students writing all the the time this "effects music" as I call it (thinking that they're writing high quality music), and if you ask them to write an effective melody they wouldn't know how.

Yes, and the old lie that they'd be able to write a hit musical or popular theme tune if they wanted to, but just chose not to.

I like Xenakis, but I can imagine there's a lot of bad Xennakis-wannabes among Greek music grads, without his intelligent or vision.

Here's a quote from the other Jerry - Jerry Fielding, talking about writing THE MECHANIC.

http://www.youtube.com/watch?v=8A24A3WSFF8

Michael Winner was one of the ‘new wave’ of young directors who came up by way of pictures that I didn’t do called I’LL NEVER FORGET WHAT’S ‘IS NAME and THE JOKERS, which was a marvelous film. He made a name rather quickly, and made a string of films in England before he came here. THE MECHANIC - well, as everyone knows - I think everyone knows that in the parlance of the nether regions, a ‘mechanic’ is a killer, a hired killer. It’s a very impressive ‘Main Title’, and the thing I like most about it is that nothing is said. It’s pure sensual transmission. You only see the image of a blank screen on a downtown seedy Los Angeles street, and into the frame stands up a very, very ruffled and disturbed-looking, wretched, reprobate of a man, who is our hero. He walks into a flop house on Main Street or somewhere, and settles himself in a room, and begins to make preparations for something. What he is about to do is to assassinate a man who lives across the street. He goes through this elaborate business of taking out this expensive equipment and going across the street into the empty quarters of the man he is about to do in, and setting up a piece of explosive in a book in his shelf, and then rigging his stove so that at a certain hour something snuffs out the pilot light, and the room fills with gas, and then later in the night he simply ignites it, and blows the victim to shreds. But it’s a long sequence, and you can’t visualize the thing - It runs about 17 minutes before the first words are spoken, and it’ s interspersed with certain cuts away to him in his other life, which is as he poses to the world - a cultured man listening, as a matter of fact, to the ‘Kreutzer Fugue’ of Beethoven. Now this, because it’s a modern day experience, and it’s something kind of removed from everybody’s average run of acquaintances - we won’t often hang around hired killers all day - it’s dealing in a very hairy area. This is an entirely different form of music. It’s non-melodic entirely. It’s a series of orchestral effects and colors and extreme dissonances which I think are for today’s world. I frequently use the term “ear pollution”, which is a conditioner, you know, that gets us ready for this. And I think if there’s any music which really speaks for the time in which we presently live, it’s this kind of music. It’s not really pretty. By the same token, it is exciting.

For me this kind of music is very difficult to write. You’ve got to really be careful when you construct this kind of music for an orchestra, because in the upward extensions of these things, all kind of cacophony can break loose if they’re not terribly well constructed. Now, to the untrained ear some of this may sound like a lot of noise… I hasten to assure you that this is put together with such care and with such meticulousness that it took me all of about five weeks to do the whole 17 minutes. There’s a little break in the middle you’ll hear; pay no attention to that. It’s just where I cut out a piece. As it gets into the back part there is a lot of ticking and clacking; we did it with a thing called a pizzicato and col legno situation, where all the lower strings are hitting the strings with the wood of their bows, and it actually is a complicated contrapuntal thing. The effect, however, is just a series of “unmusic” music - that’s ‘clicks’ that are meant to blend in with the sound of Bronson putting his death weapon together… the gun. It’s extremely tense and it builds and quietens down, so that the screen is virtually empty of all sound just prior to the big explosion, which is the contrast you of course want. I think it is a very arresting piece. Of all the things I’ve done in my whole life, this to me is my favorite. I know that you can’t walk out of the theater whistling it, that’s for sure. But I think it’s the heaviest thing I’ve done. I must say that I’m not the first composer by a long shot to deal in this idiom. Certainly, a lot of present day serious composers are writing this way. One of the reasons I include it here, though, is because it is an example for people to know the kind of things we are called upon to do the broad spectrum we have to cover, as opposed, say, to a guy who is a serious composer who has a style he writes in. We, everyday of the week, are called to jump from this to hard rock to classical to old Western, and it’s really kind of what makes life interesting for us. But I don’t think that the average public really realizes how broad a vocabulary it’s necessary for film composers to have.

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I didn't know this particular music. Yes, I like it very much too and i can understand the struggle to compose something like that (from my own experience too).

But:

1) the thing with the absolutely tonal music is that today, in 99% of the cases it will sound banal, plain and unimaginative. It's too risky that's why I consider a composer GREAT when he can successfully pull it off! And i wonder if in 100 years from now (so as to permit a certain time span to pass from the contemporary music), eg. Scelsi (random name) will be considered the greatest composer ever lived, or it will be still Mozart.

2) Ronald's comment implied that John Williams is ONLY the tonal themes like Star Wars, Superman etc.

Hasn't Williams written music like this you posted besides the all well known themes? Hasn't he written atonal, extended harmony and many kinds of contemporary music?

I doubt that he has listened to any of this stuff..

As it happens with all people who criticize John Williams.

They just know the Superman theme, and Star Wars theme (basically the concert versions of his popular music) and that's it!

(Anyway, sorry Ludwig for the off topic here in your thread.)

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Thank you Ludwig! Great analysis again.

to tell you the truth i hadn't seen the connection in the melody of the 4ths and 7ths.. (Y)

the thing I would add,(although i understand you're addressing to a more general public and thus avoid more specific terminology), i think that that F Quartal you have noted in the harmony, we could say that it's in essence a dominant borrowed from the mixolydian (as is the VII before the regular dominant in the end of the phrase), and it's arranged quartally as you say.

I'm not so sure yet, if the mixolydian is linked to an "American" heroic element.. I mean if classical composers have used it that way in the past..

and this is the great thing about Williams. those little twists.

I remember myself as a teenager trying to play the Star Wars theme at the piano and i always put a regular dominant, and it always seemed to me that something is not right.. :mrgreen:

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the thing I would add,(although i understand you're addressing to a more general public and thus avoid more specific terminology), i think that that F Quartal you have noted in the harmony, we could say that it's in essence a dominant borrowed from the mixolydian (as is the VII before the regular dominant in the end of the phrase), and it's arranged quartally as you say.

Oh yes, those things are absolutely Mixolydian. But then it goes right back to the dominant of B-flat major on the next chord. And there are hints of minor as well just before the return of the main theme. Lots of mixing of modes.

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Bb7sus4 or F quartal or whatever you want to call, it still serves the same function in the opening fanfare - a pre-dominant chord providing a strong vertical support for the Ab, which then ascends to A and Bb in a chromatic stepwise motion. I'd call it a sub-dominant substitute. .

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Bb7sus4 or F quartal or whatever you want to call, it still serves the same function in the opening fanfare - a pre-dominant chord providing a strong vertical support for the Ab, which then ascends to A and Bb in a chromatic stepwise motion. I'd call it a sub-dominant substitute. .

I would agree with this, but it's worth discussing more why this works. A flat-VII chord should be dominant in function. What is it that does not make us hear it as two different forms of dominant in a row? The chromatic shift, maybe. If it had just gone bVII-I, we would likely hear it as dominant. But the fact that the Ab is cancelled out by A-natural perhaps makes it sound like the F quartal has a different function from the chord that follows.

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Bb7sus4 or F quartal or whatever you want to call, it still serves the same function in the opening fanfare - a pre-dominant chord providing a strong vertical support for the Ab, which then ascends to A and Bb in a chromatic stepwise motion. I'd call it a sub-dominant substitute. .

I would agree with this, but it's worth discussing more why this works. A flat-VII chord should be dominant in function. What is it that does not make us hear it as two different forms of dominant in a row? The chromatic shift, maybe. If it had just gone bVII-I, we would likely hear it as dominant. But the fact that the Ab is cancelled out by A-natural perhaps makes it sound like the F quartal has a different function from the chord that follows.

It's more like an F7su4, which usually (as it does here) resolves to F or F7. The Ab intensifies the resolution - with the Ab and Bb converging to A natural.

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It's more like an F7su4, which usually (as it does here) resolves to F or F7. The Ab intensifies the resolution - with the Ab and Bb converging to A natural.

My bad. I was thinking of the one within the main theme, which is an Ab major chord. Yes of course the one in the fanfare is like an F7sus4.

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Ludwig--excellent analyses. I would suggest you have a separate thread for each theme you analyze. Maybe others can chime in, but it seems to me that this sort of thing is what this board is for and so a more easily indexed subject heading would be appropriate and helpful.

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