Build-Up to Adventures on Earth

[Honus27 0]

Hello everyone! I’ve browsed through here a while, loving the great insights into John Williams and his awesome music. I’m not studying music or a professional musician, but I have a passion for listening and also am a casual piano player. One of my favorite scores (as well as films) is E.T., and I’m trying to make a piano arrangement of Adventures on Earth. I’m using the JW signature edition score as a starting point, but the only thing is I’d like to include the great build-up to the bicycle chase (and that’s not included with the score).

I’ve tried to transcribe the build-up using the free audio editing program Audacity to slow down the tempo, but I don’t have a great ear and was wondering if anyone could help me check my work (particularly the chords).

I’ve attached what I’ve done so far with 2 screenshots. I didn’t include the 4 measures beforehand because I believe those use the same chords (I believe D min and Bb min) as the first 2 chords in the transcription. I also am not too concerned with getting the right instruments (only the right notes/chords), and I put in the voice part just to add what chords I thought were there.

I think I transcribed the bass part and the higher string part accurately, but I’m not sure about the chords. Particularly, I sometimes think I hear an F# in the horns in the first measure, rather than an F. A Dmin chord sounds like it fits better to me, but could this first chord be a D maj? Something else I’m unsure of is the 1st chord in the 4th measure (or the 1st chord in the 2nd screenshot). I know it’s a Bb in the higher string part, which leads me to believe it’s a Bb min chord, but the E in the bass has me questioning this. Any help would be greatly appreciated!

[Dixon Hill 4,234]

Can you give timestamps for these bars?

[Sharkissimo 1,973]

I believe you're talking about measures 137-144 of R11P3 The Rescue. The correct chords are as follows, for 4 horns, violas and violins - oboes punctuate the first of each 8th note pair with acciaccatura figures and bassoons, cellos and basses provide the bass line in octaves.

First four measures:

DMaj7 (C-#D-F#-A-D) -- BbminMaj7 (A-Bb-Db-F-Bb-Db-F) - GbMaj7 (Bb-Db-F-Gb-Bb-Db-Gb) -- Bmin (B-D-F#-B-D-F#) - GMaj7 (B-D-F#-G-B-D-G) -- Emin add#11 (B-E-G-A#-B-E-G-A#) - B7 (D#-F#-A-B-D#-F#-B)

In these final four measures - flutes double the violins, and in the final two - sizzle cymbal, timpani, harp, celeste, three trombones, tuba and solo trumpet join in.

G (D-G-B-D-G-B) - G7 add#11 (D-F-G-C#-D-G-B-C#) - E7b5,b9 (E-E-D-Ab-Bb-D-F-Ab-Bb-D-D) - trumpet plays F-Bb 8th notes - could also be interpreted as a polychord of Bb7/E7) - Db7b5,b9 (Same voicing as previous chord - just a minor third lower - only difference is the highest voice in octaves - a G).

Remembering the bike chases begins in C Major (or C Lydian to be more precise) - this cadence (Db7b5,b5) down a minor second to C is an example of tritone substitution, a common technique in jazz - after all John Williams was a virtuoso jazz pianist and all of these tricks are just second nature.

Tritone substitution is where the dominant (in this case G7) is switched to a 7th chord a tritone (6 semitones) apart - Db. Here Williams keeps the pitches of both Db and G7, so the tension and need to resolve is even greater. All of this theory coupled with the building orchestration makes this such thrilling and pleasing moment.

[Honus27 0]

Wow, thanks a lot! It is such a thrilling and pleasing moment. I think it's my favorite build-up in tension and resolution in a film score. That whole section, from when the older kids first see ET to the start of the bike chase, always makes me want to shout out in triumph. It's nice to see an analysis of the theory of why it is so effective, rather than my simplistic view of it. Thanks again!

[Ludwig 1,120]

I believe you're talking about measures 137-144 of R11P3 The Rescue. The correct chords are as follows, for 4 horns, violas and violins - oboes punctuate the first of each 8th note pair with acciaccatura figures and bassoons, cellos and basses provide the bass line in octaves.

First four measures:

DMaj7 (C-#D-F#-A-D) -- BbminMaj7 (A-Bb-Db-F-Bb-Db-F) - GbMaj7 (Bb-Db-F-Gb-Bb-Db-Gb) -- Bmin (B-D-F#-B-D-F#) - GMaj7 (B-D-F#-G-B-D-G) -- Emin add#11 (B-E-G-A#-B-E-G-A#) - B7 (D#-F#-A-B-D#-F#-B)

In these final four measures - flutes double the violins, and in the final two - sizzle cymbal, timpani, harp, celeste, three trombones, tuba and solo trumpet join in.

G (D-G-B-D-G-B) - G7 add#11 (D-F-G-C#-D-G-B-C#) - E7b5,b9 (E-E-D-Ab-Bb-D-F-Ab-Bb-D-D) - trumpet plays F-Bb 8th notes - could also be interpreted as a polychord of Bb7/E7) - Db7b5,b9 (Same voicing as previous chord - just a minor third lower - only difference is the highest voice in octaves - a G).

Remembering the bike chases begins in C Major (or C Lydian to be more precise) - this cadence (Db7b5,b5) down a minor second to C is an example of tritone substitution, a common technique in jazz - after all John Williams was a virtuoso jazz pianist and all of these tricks are just second nature.

Tritone substitution is where the dominant (in this case G7) is switched to a 7th chord a tritone (6 semitones) apart - Db. Here Williams keeps the pitches of both Db and G7, so the tension and need to resolve is even greater. All of this theory coupled with the building orchestration makes this such thrilling and pleasing moment.

I would also point out that the progression of chords Mr. Shark analyzes here move almost continuously by falling 3rds, which, although they create a sense of forward drive, they lack a sense of resolution (i.e., they don't form a cadence, but demand to keep moving forward). Even when this pattern is temporarily broken from the Em7(add#11) to the B7, the progression is down a 4th - emphatically a lack of resolution (has the same sound as a half cadence - an imperfect cadence in British terms). Only when the cue ends do we get a progression down a semitone, which, as Mr. Shark rightfully points out, stands in for the dominant, so is understood as a dominant-tonic progression, or down a 5th, finally giving the music a sense of resolution with the end of the cue.

As usual, Williams well matches the musical characteristics of his harmonic progressions (and other features as well) with the agitated feeling of the onscreen chase scene.

[karelm 2,915]

I believe you're talking about measures 137-144 of R11P3 The Rescue. The correct chords are as follows, for 4 horns, violas and violins - oboes punctuate the first of each 8th note pair with acciaccatura figures and bassoons, cellos and basses provide the bass line in octaves.

First four measures:

DMaj7 (C-#D-F#-A-D) -- BbminMaj7 (A-Bb-Db-F-Bb-Db-F) - GbMaj7 (Bb-Db-F-Gb-Bb-Db-Gb) -- Bmin (B-D-F#-B-D-F#) - GMaj7 (B-D-F#-G-B-D-G) -- Emin add#11 (B-E-G-A#-B-E-G-A#) - B7 (D#-F#-A-B-D#-F#-B)

In these final four measures - flutes double the violins, and in the final two - sizzle cymbal, timpani, harp, celeste, three trombones, tuba and solo trumpet join in.

G (D-G-B-D-G-B) - G7 add#11 (D-F-G-C#-D-G-B-C#) - E7b5,b9 (E-E-D-Ab-Bb-D-F-Ab-Bb-D-D) - trumpet plays F-Bb 8th notes - could also be interpreted as a polychord of Bb7/E7) - Db7b5,b9 (Same voicing as previous chord - just a minor third lower - only difference is the highest voice in octaves - a G).

Remembering the bike chases begins in C Major (or C Lydian to be more precise) - this cadence (Db7b5,b5) down a minor second to C is an example of tritone substitution, a common technique in jazz - after all John Williams was a virtuoso jazz pianist and all of these tricks are just second nature.

Tritone substitution is where the dominant (in this case G7) is switched to a 7th chord a tritone (6 semitones) apart - Db. Here Williams keeps the pitches of both Db and G7, so the tension and need to resolve is even greater. All of this theory coupled with the building orchestration makes this such thrilling and pleasing moment.

I would also point out that the progression of chords Mr. Shark analyzes here move almost continuously by falling 3rds, which, although they create a sense of forward drive, they lack a sense of resolution (i.e., they don't form a cadence, but demand to keep moving forward). Even when this pattern is temporarily broken from the Em7(add#11) to the B7, the progression is down a 4th - emphatically a lack of resolution (has the same sound as a half cadence - an imperfect cadence in British terms). Only when the cue ends do we get a progression down a semitone, which, as Mr. Shark rightfully points out, stands in for the dominant, so is understood as a dominant-tonic progression, or down a 5th, finally giving the music a sense of resolution with the end of the cue.

As usual, Williams well matches the musical characteristics of his harmonic progressions (and other features as well) with the agitated feeling of the onscreen chase scene.

Hi Ludwig,

Would you say this build is telegraphed in the first flying scene here: https://www.youtube.com/watch?v=gTVoFCP1BLg&feature=player_detailpage#t=35 (35 seconds in) where there is tense build up to the huge resolution when they start flying?

[Ludwig 1,120]

Hi Ludwig,

Would you say this build is telegraphed in the first flying scene here: https://www.youtube.com/watch?v=gTVoFCP1BLg&feature=player_detailpage#t=35 (35 seconds in) where there is tense build up to the huge resolution when they start flying?

Yes, they're pretty much the same chord. The one in the first flying scene is essentially A7(b5) acting as V of D, but with the complete A triad added above in tremolos, so you get its E dissonating against the Eb of the b5 in the chord. Maybe a better symbol is something weird like "A+Eb/A", meaning it can be understood as a sort of polychord, though with both chords acting as dominants.

The one in The Rescue transposes the chord to act as V of C, and is slightly varied, the bass now being Db with the G7 above, so G7/Db. This one lacks an Ab, so technically, it wouldn't be "G+Db/Db", but you can see it's basically the same chord as the other one.

This shows another typical Williams-ism: varying statements of the same material is subtle ways to bring something new to the music with each statement.

[Sharkissimo 1,973]

What about A7b9#11?

[Dixon Hill 4,234]

That's why I prefer set theory when talking vertically.

[Ludwig 1,120]

What about A7b9#11?

Well, sure. But that symbol kind of hides the Eb triad that Williams writes so clearly as a tremolo against the A triad. Also, the lower parts (tuba and trombones) are playing an A7(b5), so again it would be misleading to call it A7 (which has E-natural) with added b9 and #11.

Though your suggestion is the more normal way to describe it, I always prefer analyses that explain things as accurately as possible, even if that means inventing some new symbols to do so. I think that Williams and other film composers combine styles in new ways, particularly jazz, pop, and classical, so that analysis from any one angle often seems inadequate.

All the more reason for more writings on film music, and particularly that of Williams - the ultimate stylistic fusion.

[karelm 2,915]

One of these days, it would still be interesting to study the enigmatic qualities that JW is so good at - that "sense of wonder" that seems so perfect in Close Encounters, E.T., etc. I am not exactly sure what that even means other than saying you can hear imitation of it in the hands of lesser composers. For example, I thought Giacchiano's score to "Super 8" made overt attempts to replicate some Williamsisms but never had that sense of wonder, something great about to be revealed to the hero that would explain a deep and persistent mystery in a new and magical way that had never even been conceived of before to that character...it would be be interesting to find some musical examples for analysis because it was so much a part of his style. Perhaps a topic for a different thread.