Ennio Morricone Anaylsis - Jill's Theme (Once Upon a Time in the West)

[Ludwig 1,000]

I'm starting a new mini-series of three blog posts on Morricone's well-known score for Once Upon a Time in the West.

Here's my take on Jill's theme (the main theme):

http://www.filmmusicnotes.com/ennio-morricones-score-for-once-upon-a-time-in-the-west-part-1-of-3-jills-theme-main-theme/

Enjoy!

[Dixon Hill 4,229]

Wonderful write-up on a wonderful tune. Morricone's thematic writing is instantly recognizable with its beautifully lyrical lines and simple, songlike harmonies. Looking forward to your next entries.

[Quintus 5,391]

This is possibly my all time favourite melody.

[Muad'Dib 1,514]

Great analysis!!!

You know, I've never made the connection with Liszt. It seems so obvious now, but it's a great discovery nonetheless.

Thank you so much for this; every Leone score was a masterpiece, but this an America are the most personal and really take away the cake in brilliance... Thanks again!

[KK 3,202]

Fascinating article on a great theme. Looking forward to the rest of the series!

[Sharkissimo 1,971]

The bridge is very interesting. The G/B to Gm/Bb voiceleading idea is very common to pop (listen to the chorus of 'Wichita Lineman') as is the borrowed iv - which usually has a dominant or pre-dominant function. A sort of minor plagal cadence. Some call it a 'modal interchange' or 'mode mixture', while others call it 'reverse polarity.'

[Ludwig 1,000]

The bridge is very interesting. The G/B to Gm/Bb voiceleading idea is very common to pop (listen to the chorus of 'Wichita Lineman') as is the borrowed iv - which usually has a dominant or pre-dominant function. A sort of minor plagal cadence. Some call it a 'modal interchange' or 'mode mixture', while others call it 'reverse polarity.'

It's a gorgeously achieved climax. It's that lovely bass line going B-Bb-A, or 6-b6-5 in D major, which has a rich history of romantic longing.

But it's not too too common in Morricone. He uses it sparingly, making its impact all the more effective when it does appear.

Here's another one of my favourties in Morricone in Deborah's Theme (Once Upon a Time in America) - you have to listen from about 1:19 to get its full effect, but the falling bass line happens through 2:11, 2:19, and 2:25:

Delicate enough to melt even the stoniest of hearts.