Popular Post DomSewell 20 Posted January 27 Popular Post Share Posted January 27 Warning - this is probably a rather specialist post! I've been doing a lot of analytical work on The Empire Strikes Back this season (2022-2023) and am about half way through now. There's tons of information on themes and advanced harmony (octatonic, hexatonic, Hungarian minor and Super Locrian etc) (see Frank Lehman's thematic catalogue or Mark Richards' fabulous course on Action Music Cues ) but there's not as much information on JW's atonalism: pc set theory doesn't always tell the whole story with Williams who often combines atonalism with advanced harmony. It's a similar situation to that which has occupied musicologists about let's say the Augers Chord from Stravinsky's Rite of Spring. (for a wide discussion see Daniel Chua here (music analysis Volume26, Issue1-2 March‐July 2007 Pages 59-109 What struck me about the Chua article was the interesting take that Stravinsky himself had on the augers chord. When he plays it for a CBS interview - he voices the chord in three ways - firstly the Fb chord but then the G then Db, Bb Eb which is the seed motif for the rest of the accompaniment in that segment. It exemplified the problems of calling it an Eb 13 (because you have to literally rearrange all the notes!), or 7-32 (for the same reason, it ceases to become that chord and becomes something else) along with amy modal or octatonic analysis (there is an anomalous note which doesn't 'fit' and modally bears no relation in that voicing to a harmonic minor mode), or, bitonal (Stravinsky doesn't play the chord as a bitonal chord when he individualises the notes in the CBS interview ). JW. Chua also cites others who say 'it's just hand position...nothing more' which he says is a cop out! Chua eventually considers the Augers chord as a 'sonority' and a sign in a semiotic sense and one which defies most analysis. Perhaps by taking Chua's conclusions and applying them to JW we could consider sonority as a useful way of defining separate standalone chords within JW's atonalism. Intervallic content can be defined better if we consider the melodic order - in a particular voicing. It's an interesting problem and am keen to hear viewpoints. I've enclosed this cue as the emperor appears towards the end and there's quite a bit of atonalism in there. https://www.youtube.com/watch?v=Nxe_rd2GVPY ragoz350, Joni Wiljami, Falstaft and 8 others 8 1 1 1 Link to comment Share on other sites More sharing options...
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