"To Morocco" Appreciation Thread

[Falstaft 2,175]

Kind of like we did with Rise of Skywalker, let's have some threads of pure positivity and appreciation for the specific cues, tracks, and themes from Dial of Destiny. Why not begin with a track I think we all agree is beautiful and quite affecting: "To Morocco." 

 

 

Here are two of my observations. First, the statement of the Raiders A theme at 0:35 is an all timer, don't you think? Sure, the first phrase ("Give 'em hell, Indiana Jones!") is lifted more or less without alteration from Crystal Skull 2m13r. But after the pause, you get the rest of the phrase in a totally new way, first this tender clarinet solo, and then a broad brass chorale of an ending. As far as I know, it's the only time the theme has been presented in this way. Or that the 1-2-3 melodic line is harmonized with a IV6-V6-I progression. Just a gorgeous way of fitting in a lot of complex emotions--melancholy, vulnerability, strength--in an incredibly short span.

 

The second detail: hearing the piano figure for the Antikythera (1:06) in relatively close proximity to the incipit for Helena's theme on the celesta (2:05) brings out a certain intervallic sympathy between the two, doesn't it. The first is D6-D5-C#5-D6-D5-C#5, the latter F5-F6-Gb6-A6-Bb5-C6-F6. The first, an octave drop and semitone step down, the latter an octave leap and semitone step up. Maybe nothing, but undeniably pretty!

[Bellosh 3,940]

The opening with the somber b theme is a perfect contrast to Germany 1944 because we know Indy is kinda washed up and miserable at that point. And the B theme has always allowed to be that emotional lever to Indy's life

[Falstaft 2,175]

12 minutes ago, Bellosh said:

The opening with the somber b theme is a perfect contrast to Germany 1944 because we know Indy is kinda washed up and miserable at that point. And the B theme has always allowed to be that emotional lever to Indy's life

 

It's also a nice echo with "Packet from Dad" from TLC with which it has several musical similarities, and also has a kind of world-weary tone, though not as deeply felt as this instance.

[Doo_liss 6,632]

2 hours ago, Falstaft said:

The statement of the Raiders A theme at 0:35 is an all timer, don't you think? after the pause, you get the rest of the phrase in a totally new way, first this tender clarinet solo, and then a broad brass chorale of an ending. As far as I know, it's the only time the theme has been presented in this way. Or that the 3-4-5 melodic line is harmonized with a IV6-V6-I progression. Just a gorgeous way of fitting in a lot of complex emotions--melancholy, vulnerability, strength--in an incredibly short span.

 

 

Kinda sounds like the revised ending to Birds of Charlemagne

[Cerebral Cortex 3,358]

2 hours ago, Bellosh said:

The opening with the somber b theme is a perfect contrast to Germany 1944 because we know Indy is kinda washed up and miserable at that point. And the B theme has always allowed to be that emotional lever to Indy's life

 

This thread and comments like this are why I come to JWFan. That final point is superb.

[WilliamsStarShip2282 321]

This is indeed a very nice track, I really like this style. Especially the latter half, reminds me of Sabrina (Linus New Life), interesting both involving Harrison Ford going somewhere....

I actually liked this score quite a bit, and especially how he re-worked The Duel in  Hotel LÁtlantique, it sounds like an alternate version of the original maybe, but it still is really nice, to be honest I like this one better, as short as it is.

[ConorPower 151]

10 hours ago, Falstaft said:

The second detail: hearing the piano figure for the Antikythera (1:06) in relatively close proximity to the incipit for Helena's theme on the celesta (2:05) brings out a certain intervallic sympathy between the two, doesn't it. The first is D6-D5-C#5-D6-D5-C#5, the latter F5-F6-Gb6-A6-Bb5-C6-F6. The first, an octave drop and semitone step down, the latter an octave leap and semitone step up. Maybe nothing, but undeniably pretty!

 

Didn't notice that intervallic similarity until you pointed it out — nice catch!

 

Both those snippets also just make me realise how Williams uses the piano and celeste timbres for that mystery & poignant quality. With other composers (or trailers specifically) that twinkly piano has become so cliché, but Williams manages to set it just right, adding just the appropriate amount of sparkle or subversion without sounding overbearing. Its always those little touches

[BB-8 4,047]

8 hours ago, WilliamsStarShip2282 said:

This is indeed a very nice track, I really like this style. Especially the latter half, reminds me of Sabrina (Linus New Life), interesting both involving Harrison Ford going somewhere....

I actually liked this score quite a bit, and especially how he re-worked The Duel in  Hotel LÁtlantique, it sounds like an alternate version of the original maybe, but it still is really nice, to be honest I like this one better, as short as it is.

 

Yeah, I also associated the "action scenes" from Sabrina...also in "To Athens"...

 

 

 

[Falstaft 2,175]

2 hours ago, ConorPower said:

 

Both those snippets also just make me realise how Williams uses the piano and celeste timbres for that mystery & poignant quality. With other composers (or trailers specifically) that twinkly piano has become so cliché, but Williams manages to set it just right, adding just the appropriate amount of sparkle or subversion without sounding overbearing. Its always those little touches

 

I don't know why, but I find that particular moment at 2:05 just heartbreaking.

 

And again we must ask -- real celesta, or Randy Kerber synth? 

[BB-8 4,047]

34 minutes ago, Falstaft said:

 

I don't know why, but I find that particular moment at 2:05 just heartbreaking.

 

And again we must ask -- real celesta, or Randy Kerber synth? 

 

These celestial moments sound so innocent.

 

Wasn't JW seen playing a real celeste during sessions for The Fabelmans?

[Alex 2,888]

Everything from 2.13 is absolutely gorgeous.

[Damien F 1,774]

33 minutes ago, Alex said:

Every from 2.13 is absolutely gorgeous.

 

That's why I love the track. It starts with a beautiful soulful rendition of Indy's theme and finishes with a gorgeous lush performance of Helena's theme.

[Joni Wiljami 1,212]

The beginning of this makes me cry every time. My wife said to me that he is so ingenious.

[Ludwig 1,169]

I like the way the ostinato at 2:12 comes in sounding at first like an innocuous accompaniment figure, then it beautifully blends with Helena's theme in counterpoint. And more than that, with the varied form of the ostinato (it's second statement and every other one after that), it seems like a variant of the opening figure of Helena's theme (I would say most like the one in its second phrase from 0:50 of "Helena's Theme"), which is more than an ostinato because it works in counterpoint with the melody of Helena's theme. That's what's the most interesting thing to me, almost like Williams is taking a technique that's more from concert music and importing it into his film work.

 

It's something that is pretty subtle, but hearing the ostinato as related to Helena's theme I think explains why the ostinato blends so well with it.

 

So compare this:

 

 

to this:

 

 

[Leia Sees Ghosts 320]

Obsessed with 2:06 onward. Some of my favorite bits on the entire soundtrack.

[Falstaft 2,175]

14 hours ago, Ludwig said:

I like the way the ostinato at 2:12 comes in sounding at first like an innocuous accompaniment figure, then it beautifully blends with Helena's theme in counterpoint. And more than that, with the varied form of the ostinato (it's second statement and every other one after that), it seems like a variant of the opening figure of Helena's theme (I would say most like the one in its second phrase from 0:50 of "Helena's Theme"), which is more than an ostinato because it works in counterpoint with the melody of Helena's theme. That's what's the most interesting thing to me, almost like Williams is taking a technique that's more from concert music and importing it into his film work.

 

It's magnificently handled, isn't it? -- proof, I think, that as an arranger, which requires great sensitivity to accompaniment patterns and countermelodies, Williams is still in a class of its own.  (Also, notice how that little ostinato figure starts sounding a tiny bit like a motif from Rey's Theme towards the end?...)

 

All this this is to say nothing of the shifting tonal stations the theme visits along the way. 

2:13 -- Fm7

2:30 -- either Abm7/Gb or Ebm(6/9)/Gb (?)

2:38 -- Em9

2:45 -- Dm9(b6)

2:48 -- Gm9(b6)

2:51 -- Bbm9

3:02 -- Fm9

3:07 -- Cm7(11)

 

People have mentioned Sabrina, which is definitely a good point of comparison. I also am reminded a bit of stretches of Catch Me If You Can, that feature this kind of wandering, mostly minor-7th-based harmony. I'm so glad Williams had an opportunity to revisit this idiom, it's one of my favorites of his.

 

 

[leeallen01 2,179]

My favourite piece from the score.

 

That opening of the Indy themes is beyond gorgeous.

 

It feels so tender and warm.

 

The flute and clarinet talking to each other, and the later french horn. My lord.

[Will 2,254]

Agree 100% with much of what has been said above. I'll add that my personal favorite bit is this hopeful, slightly adventurous section:

 

 

I don't know what the technical musical terms are for this, but it sounds like pure classic JW. A short moment but so distinctively him. Love how it manages to be both playful and deeply nostalgic. Relatedly, it's also perfect for the moment it underscores on screen.

[Will 2,254]

More generally, particularly as to the second half of the album track (which I think is a separate cue), it's wonderful how daring JW is in his musical choices. How many other action movies are there today where a composer would write something that sounds like Sabrina? But JW does it, and makes it sound perfectly natural and not at all dated. Unfortunately, in the film itself, it seems that the cue is considerably shortened, with what sounds like an insert that replaces the most sweepingly romantic portion (no doubt, others have remarked on this in other threads -- it's been hard for me to keep up!). But I'm glad we get to hear it in its full glory on album.

[Will 2,254]

On 15/07/2023 at 6:09 PM, Will said:

Agree 100% with much of what has been said above. I'll add that my personal favorite bit is this hopeful, slightly adventurous section:

 

 

I don't know what the technical musical terms are for this, but it sounds like pure classic JW. A short moment but so distinctively him. Love how it manages to be both playful and deeply nostalgic. Relatedly, it's also perfect for the moment it underscores on screen.

 

Welp, I was listening to KoTC today and something sounded familiar... Turns out the moment I praised above was basically copy-pasted from 2M13R Remembering Henry Sr. & Leaving Campus:

 

 

I'm sure many of you noticed this long ago (indeed @Falstaft notes at the start of this thread that the main theme variation that follows is partly pulled from 2M13R) but I had not until today -- really emphasizes just how much of this score (even on the OST) is old material, and does make one question whether Ross had a greater role than we were led to believe. Of course, it's still a great passage! And well chosen as a lead-in to the main theme, I think.

[LB Makes Stuff 304]

I love how this score does rely on some of that Sabrina sound (Finale especially) for some scenes Helena is in. Makes me wonder if JW wants to do another romance film at some point.