Characteristic principles of orchestration and composition of John Williams

[Tomáš 11]

Hello Everyone,

 

This year I ended my bachelor degree in Musicology and wrote thesis about John Williams and I want to share it with you.

 

Let me know what you think about it, I will answer any yours question. 

Comment it or ask any question here in forum or you can write me on my email tomas.chren14@gmail.com 

EDITComplete_thesis-Characteristic_principles_of_orchestration_and_composition_of_John_Williams_(final_version).pdf

[Ricard 2,242]

I encourage every JWFan to read and discuss this. It's extremely rewarding and informative, even if you can't read music!

[SteveMc 2,674]

@Tomáš, great work!  I was particularly intrigued by your thoughts on Williams's use of the harp as a sort of emotional narrator in his music.  

In Schindler's List I think we can hear a definite example of this, as the harp tends to introduce and punctuate the writing for solo violin.

[Maglorfin 196]

@Tomáš, this looks great, thank you very much for uploading your thesis!  I have already downloaded it and I'm very much looking forward to reading it, might even print it actually!  Thanks again.

[Petr Potter 40]

Ahoj Tomáši  hledal sem te na fb ale je tam mnoho Chrenu a  chtel sem ti napsat. Je to moc skvely!!! diky! Petr Potter Macháně

[gkgyver 1,645]

Quote

Williams’s orchestration is very difficult and internally sophisticated and over- elaborated. But there are these characteristic principles which are regularly and repeatedly used. Short summarization is: in parts where the strings are the carrier of a melody, first and second violins are in unison or in octave (in climaxes also with violas or cellos), like a well-known standard established around the period of classicism. Violins also are used for ostinato or accompaniment. Brass can be a carrier of the main melody or for ostinato purposes. When woodwinds don’t play solo (usually the main melody), or most of the woodwinds play the main melody, then they serve as accompaniment, playing scales, arpeggios as colour effect. These characteristics are applied when the whole orchestra is playing, not in passages in which solo instruments stand out. Between each of these instrument sections there comes a combination and permutation. 

 

The title of those 97 pages is "Principles of orchestration and composition", and this is all you write on his characteristic orchestrations?

All this says is:

"Strings can play the melody or an ostinato. Brass can play the melody or an ostinato. Woodwinds can play the melody or colour effects. Instruments are combined with other instruments. Everything else is very difficult so I won't bother."

 

The orchestration part is a serious letdown.

[Tomáš 11]

I have tried to write more about process of orchestration in second chapter.  But thank you for your point and your criticism.