Favorite short musical moments in Williams scores?

[Oomoog the Ecstatic 314]

I was looking back at the last page thinking, if I want real intensity, I'll have those flutes at 0:24 and 0:44  

[Bellosh 4,034]

The part in 'Han and Leia' when Finn and Poe reunite, especially the mini reprise at 2:10.

 

 

[Will 2,285]

41 minutes ago, Bellosh said:

The part in 'Han and Leia' when Finn and Poe reunite, especially the mini reprise at 2:10.

 

 

 

Totally, that bit has that lovely nostalgic tone that makes TFA's score so special to me. Gorgeous. 

[Bellosh 4,034]

34 minutes ago, Will said:

 

Totally, that bit has that lovely nostalgic tone that makes TFA's score so special to me. Gorgeous. 

 

Yes it certainly does!  I have listened to that bit over and over so many times.  You are spot on with the nostalgic tone it has.  It's a remarkably warm bit.

[Pellaeon 596]

On 7/27/2019 at 4:16 PM, Bellosh said:

and MY ABSOLUTE favorite version of Luke's theme (3:44-4:00).  It's like the Luke Skywalker March

 

 

Yeah, I love that, I think of it as a theme for Luke’s squad.

[Oomoog the Ecstatic 314]

I always say 3:11 is Williams's best melody of the 21st century, but this particular moment I find catchiest because while dynamics and reverb are increased to epic-sounding proportions, what's comparatively striking is the playfulness of accentuated rhythm and bounciness in certain dynamics, sticking that bone right in at 3:16. BAAAAaa

 

 

[Pellaeon 596]

Love the flute at 2:24:

 

 

And the timpani at 0:24-0:29:

 

 

And this is a bit more than a moment, but, this entire track just completely rocks:

 

 

[Luka 275]

THIS rendition of the Force Theme! (at 4:43)

 

 

 

[Bellosh 4,034]

3 hours ago, Luka said:

THIS rendition of the Force Theme! (at 4:43)

 

 

 

 

So good!!

[The Illustrious Jerry 3,357]

1:26-2:00

 

With the the whimsical Across the Stars passage coming in at 1:37 being the highlight.

 

0:09-0:40

 

Hot-damn, can that harp ever move! What a neat little nugget of a motif. Attack of the Clones is full to the brim of brief moments of absolute other worldliness. 

[Oomoog the Ecstatic 314]

On 4/26/2019 at 12:35 PM, Borodin said:

The piano embellishments at 1:00 and 1:06

 

 

Must quote again! Double goodies detected. The melody starting at 0:15 (and 1:00) with bass drop and split root in soprano! just as wonderful as the main part.

[Bellosh 4,034]

3:16-3:20 of Making the List - Schindler's List

 

 

[Cerebral Cortex 3,359]

On 8/8/2019 at 7:03 AM, Pellaeon said:

And this is a bit more than a moment, but, this entire track just completely rocks:

 

 

 

This cue never fails to get the blood pumping.

 

Going into Episode VII, I was equally both incredibly stoked and incredibly cautious about how Williams' score was going to be. I had really enjoyed some of his most recent entries like Lincoln and War Horse, and I knew without question his musical craft was still strongly intact, but I feared he had possibly lost the ability to generate that huge blockbuster, larger than life feel, a feel I had hoped to find in Indy IV but couldn't. This moment for me in the film, starting with when you first see those X-Wings skimming the water off in the distance as this cue starts to build, reaffirmed to me not only that Williams still had what it took to score a massive film franchise like Star Wars, but also that Williams is truly the only who can do Star Wars. There truly is no equal. The magic is still there.

That high of seeing Harrison Ford back in the role as Han, seeing those X-Wings gunning after some TIEs, Williams music blaring out of the theater stereo. For that moment, however brief, Star Wars was back. 

[Pellaeon 596]

 

[Bellosh 4,034]

1:17 - 1:52

 

 

[Oomoog the Ecstatic 314]

That little moment from 13:51 - 13:55

 

Man, I always post the good stuff. It's like the trumpets are teasing him with that victory theme.

[BrotherSound 2,477]

I really love this whole cue, but I wanted to highlight the echoing trumpet fanfares doubled by two glockenspiels panned left and right, such an unusual and brilliant orchestrational touch!

 

 

[Sunshine Reger 3,622]

.

 

[Pando 152]

 

2:28-2:48 - Just a fantastic little harmonic progression leading to Rey's theme; always gives me goosebumps.

[Loert 2,864]

On 9/5/2019 at 5:34 PM, BrotherSound said:

I really love this whole cue, but I wanted to highlight the echoing trumpet fanfares doubled by two glockenspiels panned left and right, such an unusual and brilliant orchestrational touch!

 

 

 

Aaahhh don't we all just love echoing trumpet fanfares doubled by two glockenspiels.

[The Illustrious Jerry 3,357]

2:52-3:22

0:25-0:42

 

John Williams does his best Thomas Newman impression? 

 

[Disco Stu 15,507]

Anyone else think the way the horns play the "something wicked this way comes" phrase in the Azkaban credits is sexy af?  I mean just nasty sexy.

 

1:16-1:18

 

[cordax 32]

both from the same clip actually

1:57-2:13

5:48-6:00

 

[Bellosh 4,034]

3:57 of 'Plowing' - War Horse

 

It's also used in the film trailer as well.  It gets me every time. 

 

 

 

[Edmilson 9,797]

Since the Indy 5 thread was bumped, I decided to revist KOTCS OST, which I haven't heard in a long time. I really like this track from 3:21 to the end, it sounds like a mix between War of the Worlds and The Patriot!

 

 

[cordax 32]

That is oddly the same key and almost exact orchestration used in the intersection scene, if not blatantly the same thing. Never heard williams borrow something of his own so closely before. May be an intended reference?

 

[Edmilson 9,797]

This whole track is good, but I love the first two minutes. Typical Williams warmth of the early 2000s. Sooooo good!

 

 

[Montre 79]

 

The stuff going on at 0:24 is the type of stuff I can’t get enough of. I love how Williams uses gestures like this in his writing, in the abscence of a traditional melody that you can follow along. To me it’s really exciting listening to music like this, not knowing exactly where it will go, and being surprised. 

[Bayesian 1,492]

3:30 to 3:55 in this video

 

This being the scene in the control room where Lex and Tim are trying to restore computer control to the island, the mood is all about ratcheting tension. And JW brings it, with the main theme trying repeatedly to resolve triumphantly. Eventually it does, and my God, how beautifully so — at 3:43 you hear percussion and cymbals clear out the soundscape for celesta? glockenspiel? to play the first four notes of the main theme, then again the the first two, finally followed by orchestra for the full theme statement with two triumphant brassy swells that release the tension (which I’m pretty sure syncs with the moment when Lex gets the door locks back online). 
 

To think how that scene would be scored today by the likes of Giacchino, Zimmer, Balfe, or junkie... >shudder<. I don’t know if even Powell would know how to hit those marks like JW did. 

[Sunshine Reger 3,622]

0:48 Powerful drop. The violins scream "No!" and the horns point at the killer. Instruments start repeating the news like a crowd. 

Have you ever heard a better scored dramatic death?

[Edmilson 9,797]

This whole cue is FUCKING EPIC, but I adore the part from 2:10 to 2:43. Williams is a master on conjuring the feeling of anxiety, of "running for your life" through his rhythmic string motifs, and when combined with the adventure theme from the first score, the effect is... mesmerizing.

 

 

[Loert 2,864]

On 9/26/2019 at 12:43 AM, Montre said:

The stuff going on at 0:24 is the type of stuff I can’t get enough of. I love how Williams uses gestures like this in his writing, in the abscence of a traditional melody that you can follow along. To me it’s really exciting listening to music like this, not knowing exactly where it will go, and being surprised. 

 

I find it funny to think that when Williams composed this cue he probably looked no different than how he does in your profile pic; intently sitting at his desk composing what, for all anyone could know, the most serious piece of orchestral music.

[Sunshine Reger 3,622]

.

[Edmilson 9,797]

Always loved this cue:

 

 

Williams suspense/conspiratorial scoring was simply amazing circa 2002: the Kamino music, Presenting the Pre Cogs, The Arrival at Tatooeine (specifically when the Lars family tells Anakin what happened to his mother), the wonderful Anakin Changes, The Writing on the Wall... But Petrified Justin is by far my favorite. The low key performances of Philosopher's Stone 1M1 Prologue, the Spiders theme and the Chamber theme create a creepy, unsettling atmosphere. 

 

Then, starting on 1:36, we hear dramatic, sad strings and harp as Harry says to McGonagall he is innocent, but she says only Dumbledore can help him now (or something like that). The combination of Williams' music with Maggie Smith's performance really sells the idea of the horrible gravity of the situation, all culminating in a great fanfare for Dumbledore's office.

 

It's very easy to fright moviegoers with jump scares and dissonant violins. But much less common is to create an atmosphere of danger and menace, specially on a kids movie - in other words, when not even the head of your house compreehends entirely what is happening and how to stop the attacks, well, you're fucked.

[Marc 870]

2:38 - 2:46

 

 

Those chords he used with those little flute motifs on top, as Kevin slowly turns towards Harry and Marvin ! Brilliant scoring

[Bellosh 4,034]

 

[MaestroUE 29]

Oh man, this is hard to pick so i'm gonna share some off the top of my head.

 

https://www.youtube.com/watch?v=tG3NY_3_YHE

First 20 seconds and the little theme at around 0:54. It shows you how prolific and rich TPM score is

 

https://www.youtube.com/watch?v=s9S6wEemX84

From 0:54 till the end on this one, with one of my favorite representation of the force theme and brilliantly orchestrated action sequence.

 

https://www.youtube.com/watch?v=zWchwvtma8w

This piece alone is an orchestration lesson. It's like a huge palette of different colors, accompanied by great mastery in writing and whimsical moments. Favorite moment would be the fanfare at 3:41

 

https://www.youtube.com/watch?v=XnBZrqndmKQ

The brass sequence from 2:49 up to the end of the little march that begins afterwards. Fantastic balance in brass writing

 

 

[Bellosh 4,034]

:00-:20   Absolute chills every time.

 

 

 

[Jost1 105]

Just love this little part of the Catamaran Race from Jaws 2:  1:20 - 2:00.   Honestly Jaws 2 is such a fantastic score.

 

 

I guess I'd be remiss not to mention this too:

 

Gorgeous fanfare and I love the way it resolves.

[Bellosh 4,034]

0:00-0:34  Sounds like the playful pieces in The Book Thief.

 

 

[Jost1 105]

The buildup to the Superman theme with the ostinato at 2:30

[Balahkay 629]

3:17 to 3:27... I love this little rendition.

 

 

[mrbellamy 7,078]

 

[Tydirium 1,427]

3:01-3:13:

 

 

[Edmilson 9,797]

0:49 to 1:06 and 2:16 to 3:26 =    

 

 

[SteveMc 2,677]

The horn part here at 18:06 is such a perfect little set up for the movement that follows.

 

[Loert 2,864]

1:57-2:09 - my favourite moment!

 

 

[Bellosh 4,034]

14 minutes ago, Loert said:

1:57-2:09 - my favourite moment!

 

 

 

I sometimes forget just how good both Cantina pieces truly are!

[Tydirium 1,427]

Anybody else absolutely love the little Imperial March triplet at 0:41 of "Journey to Exegol"?

 

 

[Tydirium 1,427]

Anyone?^

 

But also, can't get over 1:48-2:02 in this track from SABRINA:

 

 

Easily some of my favorite Williams woodwind writing; that last little figure at 2:01 that kind of awkwardly/quirkily ends on a G (when it feels like it should be an Ab) is the sort of thing only Williams could pull off—yet it somehow works great. This is one of those sections that is fun to listen to at half speed, to really hone in on what he's doing with the orchestration.