Analysis - The Imperial March

[Ludwig 1,120]

What makes the Imperial March so evil sounding? Here are my thoughts:

http://www.filmmusicnotes.com/john-williams-themes-part-3-of-6-the-imperial-march-darth-vaders-theme/

At one point in the analysis, I actually transpose some of the recording to show how Williams used distorted chord progressions. See what you think...

[Romão 2,274]

This is fascinanting, Ludwing, I've been enjoying greatly your articles. Thank you so much for this

[filmmusic 1,843]

Thank you Ludwig! Great as always!

One question:

if we say that the #V is the bVI again? is it the same?

after all bVI acts as a dominant too..

and if i tried to break the theme, i would put 3rd-4th and 5th idea together in one unit. But that would be to fit it in the boundaries of a sentence, period etc..

I don't know where i had read this (maybe in kalinak's book?), that it's strange that if we isolate the 1st idea (only the melody) it's just an arpeggio of a major chord (Eb major).

But with the addition of the harmony, and the way it's arranged it sounds so dark an ominous as you said.

By the way, I'm studying Raiders today.

it's funny that that #iv you mentioned forms a tritone with the tonic, and breaks the scale in half.

the same chord (between 2 tonics) is in the Ark theme. I always wondered if i'll mark it as a #iv or something else.. (there is a #V in there too, but i said it's a bVI)

http://www.youtube.com/watch?v=t97QUrbApSQ

[Ludwig 1,120]

Thanks to both for the kind comments.

Filmmusic, to answer your question, I think there is a difference between bvi and #v, and it has to do with context. The reason I say the opening of the Imperial March is bvi is that the bass goes from ^1 to ^6. If we were to hear the minor chord there as #v, that would mean hearing the bass note as #^5. But since b^6 is a scale note, I think that is our first impression of the chord. And no tonic-dominant progression goes from ^1 to ^6 in the bass.

It's only when we hear the bass of the distorted #iv going up a whole tone that we can now hear the bvi chord as #v. Then that leads into the riff again, so now we hear the bvi as a distorted dominant.

In the case of the Ark Theme, it may not matter what label you use. If we don't hear harmonic functions of tonic, dominant, and subdominant in the passage, there would seem to be no difference between labels. The whole theme is constructed out of minor chords that are chromatically related, so maybe it's the interval relating them that's more important, or the number of fifths that separates their keys.

[Quintus 5,399]

I don't think it sounds especially "evil" per se, being that it's too broad a melody and presentation. The pomp and immediate regimentation of the piece evokes a feeling of pseudo-religious tyranny and purpose, like cogs in a supremely well-oiled military machine working zealously toward a feasible ideology. It's the obvious comparison, but it sounds like the soundtrack to Nazism.

I don't know music theory, but in layman's terms the strongest sense of malevolence stems from the sharp succession of three note abrupt assertions, heard with forceful consistency at the end of each melodic 'descent', and then finally underlining and confirming the intent of the theme with the repeated reprisal of the primary melody's closing three notes: the repetition being key to the overall arrogance, conviction and capability of the piece.

On the face of it it's simplistic, inevitable stuff, as usual; but being John Williams it's really much more deviously smart than most people will ever realise.

[filmmusic 1,843]

well, concerning the ark theme, there isn't any pattern. i searched for intervals between the chords. it's usually 3rds, but it's not something regular.

however in the first strong beat of every bar we have the chords:

i - i - i -v -i - iv- v

So, i'd say the theme has functional harmony with many decorative chords in between.

[Ludwig 1,120]

I don't think it sounds especially "evil" per se, being that it's too broad a melody and presentation. The pomp and immediate regimentation of the piece evokes a feeling of pseudo-religious tyranny and purpose, like cogs in a supremely well-oiled military machine working zealously toward a feasible ideology. It's the obvious comparison, but it sounds like the soundtrack to Nazism.

Hi Quint - you bring up great points that I generally agree with. Just one question, though. I'm wondering why you say it sounds like the soundtrack to Nazism if you don't think it sounds evil. It's not a criticism, I'm just curious because it sounds contradictory is all.

[Brónach 1,302]

To me it doesn't sound exactly evil, but more like "evil" in a tongue in cheek, pompous way. The kind of thing that makes you side with the bad guys just because they're awesome. That's what this music reflects to me.

Rebel scum!!

[Arnaud 6]

Thank you for this great analysis. I was fascinated by your "alternate" version.

Personally I always found the march to be about something very dramatic but not necessity evil.

I am in fact more attracted by the secondary theme, the one that starts with the solo piccolo or flute. (Is it the part called the bridge?) I listen to this part on its own. There is a sadness and serious drama to it that says a lot about the composer's understanding of the character in my opinion. It's such a beautiful piece.

[Sharkissimo 1,973]

I am in fact more attracted by the secondary theme, the one that starts with the solo piccolo or flute. (Is it the part called the bridge?) I listen to this part on its own. There is a sadness and serious drama to it that says a lot about the composer's understanding of the character in my opinion. It's such a beautiful piece.

I'd be very interested in an analysis of this B section, and also perhaps its development in Approaching The Death Star from ROTJ.

[Romão 2,274]

It's very versatile theme, When played in full march form it conveys indeed a feeling of supreme military might. But when played in a slower tempo, without the march like accompaniment (snare drums, the riffs, etc), it sounds quite tragic, indeed the theme of a fallen angel

[Arnaud 6]

Tragic is the word I was looking for! Thank you!

[karelm 2,915]

Very nice article, Ludwig. Keep them coming! It's interesting to contrast the seeds of the imperial rhythm between Star Wars and its mature version in empire strikes back. Have a listen to this clip at the 0:37 second mark:

It sounds like even the "wrong notes" in the rhythm were already there at the end of that imperial phrase but in empire, that rhythmic ostinato becomes fully mechanized and well...imperial.

[TownerFan 4,984]

Great analysis as usual, Ludwig. Keep 'em coming.

[Incanus 5,716]

Fascinating discussion and a great analysis Ludwig!

[Ludwig 1,120]

Thanks, all. I think I'll probably do Jurassic Park main theme as Part 5. Then maybe Hedwig's theme? Well, there's always room for more in future series as well.

 

Karelm, very cool about the possible rhythmic precursor of the Imperial March. I listened once more to the original Star Wars score the other day and was surprised that some moments (in addition to your rhythm) were strikingly similar in sound to the Imperial March.

 

Like the bass line in this one, at 2:42, which the march's melody is reminiscent of:

 

 

And this one at 0:54, which sounds similar to the march's accompaniment rhythm:

 

 

[karelm 2,915]

Thanks, all. I think I'll probably do Jurassic Park main theme as Part 5. Then maybe Hedwig's theme? Well, there's always room for more in future series as well.

Karelm, very cool about the possible rhythmic precursor of the Imperial March. I listened once more to the original Star Wars score the other day and was surprised that some moments (in addition to your rhythm) were strikingly similar in sound to the Imperial March.

Like the bass line in this one, at 2:42, which the march's melody is reminiscent of:

And this one at 0:54, which sounds similar to the march's accompaniment rhythm:

One thing I wonder, is it that JW developed the SW ideas for ESB or is this rather part of his vocabulary at the time? These are exactly the kinds of questions I wish someone who interviews him would ask - basically, the gestation of the ideas. Some people claim Star Wars to be derivative but in hearing these samples and your score analysis, I find them anything but. I find it very original in its execution though the ideas had their start in temp music. Ultimately, it truly is his own I think. What else sounds like “The Force” theme (aka Ben’s theme)? I also find the Star Wars sound to be unique within JW. Your bass line example, the rhythmic march, etc., those staccato brass lines, are all very specific and while I was listening to the “Death of Ben/Here they Come”, I was reminded how exceptionally exciting this music was. I confess I’ve not listened to it for pleasure in years. Hat’s off to this exceptional composer.

[Sharkissimo 1,973]

Thanks, all. I think I'll probably do Jurassic Park main theme as Part 5. Then maybe Hedwig's theme? Well, there's always room for more in future series as well.

Karelm, very cool about the possible rhythmic precursor of the Imperial March. I listened once more to the original Star Wars score the other day and was surprised that some moments (in addition to your rhythm) were strikingly similar in sound to the Imperial March.

Like the bass line in this one, at 2:42, which the march's melody is reminiscent of:

And this one at 0:54, which sounds similar to the march's accompaniment rhythm:

One thing I wonder, is it that JW developed the SW ideas for ESB or is this rather part of his vocabulary at the time?

I think both are the case. Let's not forget Keyes's Theme from E.T., the I-VI bass line of the Herrmann-esque "trucking" theme from CE3K, The Mystery Woman from FAMILY PLOT, THE FURY Main Title, In Search of Unicorns from IMAGES, Incident at Isla Nublar from JP, and so on. Williams uses it when wants to great a Mahlerian (think the Resurrection Symphony) feeling of fate knocking at the door and unstoppable power. Almost metaphysical.

This is a key part of John Williams's musical lexicon, together with the use of pedal point.

[Ludwig 1,120]

Thanks, all. I think I'll probably do Jurassic Park main theme as Part 5. Then maybe Hedwig's theme? Well, there's always room for more in future series as well.

Karelm, very cool about the possible rhythmic precursor of the Imperial March. I listened once more to the original Star Wars score the other day and was surprised that some moments (in addition to your rhythm) were strikingly similar in sound to the Imperial March.

Like the bass line in this one, at 2:42, which the march's melody is reminiscent of:

And this one at 0:54, which sounds similar to the march's accompaniment rhythm:

One thing I wonder, is it that JW developed the SW ideas for ESB or is this rather part of his vocabulary at the time?

I think both are the case. Let's not forget Keyes's Theme from E.T., the I-VI bass line of the Herrmann-esque "trucking" theme from CE3K, The Mystery Woman from FAMILY PLOT, THE FURY Main Title, In Search of Unicorns from IMAGES, Incident at Isla Nublar from JP, and so on. Williams uses it when wants to great a Mahlerian (think the Resurrection Symphony) feeling of fate knocking at the door and unstoppable power. Almost metaphysical.

This is a key part of John Williams's musical lexicon, together with the use of pedal point.

I would agree with Prometheus. These variations of musical ideas are part and parcel of what it means to have a style. Especially for music written around the same time, one is bound to find similar ideas because, as all of us who compose know, one becomes enamoured with certain ideas and works them out in different ways across different pieces. Then perhaps after enough variations have been tried, the idea changes enough from the original to become something else. And that, to me, is the basis of stylistic development and is why a composer's music tends to shift gradually over time while still being connected to what he or she wrote before.

Karelm, I've thought about exactly this question, not just with JW but with my other favourites as well - Beethoven being the obvious example. The way I think of it is much like the growth process of a tree, with branches reaching in many directions from the trunk, and those that began to grow at about the same time being very close together. Perhaps JW has moved on from that kind of writing now, but I'd venture to guess that we would still be able to trace something vaguely similar in his more recent music in similar "bad guy" contexts.

[filmmusic 1,843]

one question, since I'm just studying the theme too now and looked closer at the harmonies.

a couple of times, the mib-solb-sib (or mib-fa#-sib) chord, appears with a do in the bass.

that makes it an altered IV, or we shouldn't take in mind the Do?

I guess when the chord is a #V it is the 7th, but when the chord is a VIb in the beginning?

(actually in the Signature edition, it's in the last bars of the theme: bars 15-16. But, this edition has either an alteration or a mistake, there should be a do in bar 8 too, on the 2nd beat )

[Sharkissimo 1,973]

I still see it as a #V, regardless of enharmonics. The C in the bass is either a subdominant pedal point or a 4/2 (third inversion) chord.

[Ludwig 1,120]

one question, since I'm just studying the theme too now and looked closer at the harmonies.

a couple of times, the mib-solb-sib (or mib-fa#-sib) chord, appears with a do in the bass.

that makes it an altered IV, or we shouldn't take in mind the Do?

I guess when the chord is a #V it is the 7th, but when the chord is a VIb in the beginning?

(actually in the Signature edition, it's in the last bars of the theme: bars 15-16. But, this edition has either an alteration or a mistake, there should be a do in bar 8 too, on the 2nd beat )

I don't hear this C in the recording at bar 8. Which edition are you referring to?

I still see it as a #V, regardless of enharmonics. The C in the bass is either a subdominant pedal point or a 4/2 (third inversion) chord.

I would hear this slightly differently, as an altered form of the diminished seventh C-Eb-F#-A into C-Eb-F#(=Gb)-Bb. This kind of diminished seventh (C-Eb-F#-A) going to the tonic actually has a plagal effect even though diminished sevenths are usually dominant in function. What I mean is that we actually hear it as an altered iv chord because of the bass going C-G, which in G minor strongly suggests iv-i along with the third of the iv chord, Eb. It's a common effect in classical works - Williams seems to be slightly varying this type of progression here.

[Sharkissimo 1,973]

I still see it as a #V, regardless of enharmonics. The C in the bass is either a subdominant pedal point or a 4/2 (third inversion) chord.

I would hear this slightly differently, as an altered form of the diminished seventh C-Eb-F#-A into C-Eb-F#(=Gb)-Bb. This kind of diminished seventh (C-Eb-F#-A) going to the tonic actually has a plagal effect even though diminished sevenths are usually dominant in function. What I mean is that we actually hear it as an altered iv chord because of the bass going C-G, which in G minor strongly suggests iv-i along with the third of the iv chord, Eb. It's a common effect in classical works - Williams seems to be slightly varying this type of progression here.

In other words, a half-diminished seventh substituting for a diminished seventh?

[Ludwig 1,120]

Indeed. So a half-diminished seventh substituting for a diminished seventh substituting for a minor triad (!).

[filmmusic 1,843]

ohh.. i don't understand anything.

SO, the half-diminished seventh is a IV chord?

if you have the complete 2cd of ESB, it's there in the recording of the concert version. (1st track of 2nd cd).

Also, it is how it was written originally by Williams himself in his sketch.

All subsequent full score versions that i have seen, don't have the do in that bar, but only in the end.

Also, another question:

in that mib-solb-sib chord, sometimes Williams has added a LA too.

So, can we consider this just an added note-chord, which is usual thing in Williams, or it adds to the fact that this bVI chord has a "dominant" nature?

(it's in bars 3-7 of Signature edition)

the chord is written as a la-sib-mib-fa# on a tonic pedal.

Notice the non-divisi la-fa# on both the violins, and violas (and horns) which becomes more prominent in comparison with the mib-sib which is only in Vlns 2 (and horns)

I think maybe in that light, in bars 5-7 the chord is a #V and it becomes a bVI in bar 8?

(by the way, as i said above, in that bar 8, it was a DO originally in 2nd beat, so the bass would go MIb-Do-Sol)

[Ludwig 1,120]

Thanks for posting the recording - I hear the C in the bass in bar 8 now. I don't know why anyone would have changed it.

ohh.. i don't understand anything.

SO, the half-diminished seventh is a IV chord?

Well, you already mentioned something similar. I was just supporting that:

a couple of times, the mib-solb-sib (or mib-fa#-sib) chord, appears with a do in the bass.

that makes it an altered IV, or we shouldn't take in mind the Do?

I think we need to distinguish between the structure of the chord (what the notes actually are) and the function of the chord (how it relates to the chords around it). Chord symbols usually only give the structure of the chord. So it doesn't matter very much what we call it because it could have many different names.

Its function is much more important. I suppose I think the C-Eb-F#-Bb chord is subdominant in function because of the bass line C-G. A dominant almost never does this, but a subdominant does it all the time. And we do have the root and third of the chord (C-Eb), so it sounds like a subdominant, again especially with the C in the bass. And a diminished seventh on the 4th scale degree that goes to a tonic chord can be found in several classical pieces. In those cases, it's a diminished seventh that has subdominant function, once again mainly due to the bass line but also because we have part of a iv chord already with scale degrees 4 and 6. In the Imperial March, it's almost the same thing, just with Bb instead of A.

Also, another question:

in that mib-solb-sib chord, sometimes Williams has added a LA too.

So, can we consider this just an added note-chord, which is usual thing in Williams, or it adds to the fact that this bVI chord has a "dominant" nature?

(it's in bars 3-7 of Signature edition)

the chord is written as a la-sib-mib-fa# on a tonic pedal.

Notice the non-divisi la-fa# on both the violins, and violas (and horns) which becomes more prominent in comparison with the mib-sib which is only in Vlns 2 (and horns)

I think maybe in that light, in bars 5-7 the chord is a #V and it becomes a bVI in bar 8?

(by the way, as i said above, in that bar 8, it was a DO originally in 2nd beat, so the bass would go MIb-Do-Sol)

This very question is answered beautifully by James Buhler in his article "Star Wars, Music, and Myth" in that book Music and Cinema. See the bottom of pp. 45 and 46. Basically, he says that we can't hear bars 5-7 as dominant because we've already been "primed" to hear it as bvi in the previous bars. Brilliant. I love this kind of contextual hearing. I think it gets to the heart of how we hear the music in real time.

[skyy38 21]

What makes the Imperial March so evil sounding? Here are my thoughts:

http://www.filmmusicnotes.com/john-williams-themes-part-3-of-6-the-imperial-march-darth-vaders-theme/

At one point in the analysis, I actually transpose some of the recording to show how Williams used distorted chord progressions. See what you think...

Most often mistaken as "minor", this theme is actually built on major chords.

One other thing- THIS theme does not "owe" to "Mars The Bringer Of War"-more it has been based on "Swan Lake"

What makes the Imperial March so evil sounding? Here are my thoughts:

http://www.filmmusicnotes.com/john-williams-themes-part-3-of-6-the-imperial-march-darth-vaders-theme/

At one point in the analysis, I actually transpose some of the recording to show how Williams used distorted chord progressions. See what you think...

And more, TIM, is based on the earlier "Imperial Motive" from Star Wars

[filmmusic 1,843]

This very question is answered beautifully by James Buhler in his article "Star Wars, Music, and Myth" in that book Music and Cinema. See the bottom of pp. 45 and 46. Basically, he says that we can't hear bars 5-7 as dominant because we've already been "primed" to hear it as bvi in the previous bars. Brilliant. I love this kind of contextual hearing. I think it gets to the heart of how we hear the music in real time.

Oh, I had forgotten about that book. Thanks, I'll check it later.

Then, this means that it's an added-note chord?

A bVI with an added la?

[Ludwig 1,120]

Then, this means that it's an added-note chord?

A bVI with an added la?

Yes, that's how I would hear it.