This is the sort of analysis most film scoring students would've only dreamed of years ago. Thanks a lot for posting! And please, oh please, give us some Herrmann, Rósza, Barry and Morricone.
No wonder I fell in love with the Octatonic scale, I mean I saw its potential... Repeats every two strings and every four frets, it has major & minor & half diminished & diminished chords with a minor 7 ... Its a Swiss army knife, it does anything with mikimal finger dexterity or head space but that is merely scratching the surface. The variety is mind boggling. Also what a fantastic video... Sounds like it deserves a good composition at exactly 88bpm :P
Another great example for Dimished scale usage in almost all movie is "Predator" which was also musiced by Silvestri. (E. g. Billy's Confrontation) I brought exactly this concept to my movie music analysis lesson during my master's degree of film music composition course. Thanks to Omni's engraved score, my teacher was very impressed by examples. It is amazing to see how economical Alan Silvestri and he knows exactly what he wants! As it's said in the video, It is very useful to exercise this "Technique" since it fits perfectly for lots of different types of music pieces, such as ironic, funny, action, tension etc. and it can be easily used also for "Art Composer" works beside of movie music. Thank you for this beatiful video and best regards,
mm hmm yes nods. I learned the main theme sheet music on keyboard. I really enjoyed learning it, and really started to get a feel for Silvestri's patterns, continuing with experimentation with the BTFF 2 and 3 music. But this is way above my head. I'm not a musician, I just replicated the black dots on the paper and learned a bit more by ear.
Great analysis! Playing back the score in the background, great visualisation of the score, the way you unfolded the melodic elements - so intuitive for my brain! Thank you so much for your video, this is exactly the kind of content I'm looking for :D You even have a relaxed voice and melody of speech! I'm so happy to have come across you. Would be amazing to get more analyses like this in the future, bell is turned on! :)
Speaking from Korea, i wonder one day Omni figures out license problem for worldwide shipping for this amazing score so various composer can finally analyze this score.Btw this kind of video is soooo good.Thank you Omni for publishing and video👍
Good choice to cut the music in the film version. The silence represents Marty's realization and works a lot better. That's not to say the extra music doesn't fit, it's just that the scene is stronger without it.
brilliant analysis. THANK YOU!! I think the cut music sections were mostly to punctuate some of the humor in the dialogue and interplay between marty and doc.
This is incredible! Lots of information to unpack, definitely going to rewatch a few times to fully soak it in. A huge shoutout to the editor because this was very well edited.
Great analysis Tim !! Great score, and brilliant example of building entire cue (whimsical tension) out of Messiaen's second mode. Just like Stravinsky did already back in "The Firebird", Silvestri adapted the exact same idea of constructing entire passage throughout orchestra based on octatonic scales. It never "resolves" - the tension stays throughout the cue...
This is a wonderful analysis, it will give me a lot to think about for a while, it's so dense! I was in gradeschool when this movie was released and I've got some very vivid memories associated with the film and the music. I'll be studying the full score in detail. Thanks
The combination of the Lydian mode and the octatonic scale was a successful strategy for Silvestri to create a compelling score for Back to the Future.
7:02 "Try to imagine" why they cut some of the musical score out of this scene? I'm not a filmmaker, but I think I've got this. As good as Silvestri is at writing exciting music, the audience can still be numbed by overexposure to it. Just as it's helpful to break dramatic tension with occasional comic relief, so is it helpful to break musical tension with occasional silence from the orchestra.
Who you calling a hafhole? :)) Great analysis, thank you. i believe there's some boominess in the vocal, it becomes a little taxing on the ears so maybe that's something to improve in the next video. Looking forward to seeing more.
Interesting video! I couldn't follow everything, but I don't think that's a problem, as I've only followed half a course on music theory, and this is probably intended for more experienced people.
@@dynamicalan Sure - in chord scale terms. Sylvestri is certainly aware of that aspect too. He went to Berklee where that’s the essence of jazz theory. This definition, though, is more one- dimensional. It just describes the two options for intervallic succession. I like it because it makes it very simple to designate which one we’re talking about. Harmonic implications are a another dimension.
Looking at these videos I feel like a kid on Christmas.
This is the sort of analysis most film scoring students would've only dreamed of years ago. Thanks a lot for posting! And please, oh please, give us some Herrmann, Rósza, Barry and Morricone.
This but he needs to make it more comprehensible to newbies
@@storiesreadaloud5635Why would everything need to be fit for newbies? Then you could never deep dive into anything
@@storiesreadaloud5635there is plenty out there for them. I am grateful for this exquisite detail!
No wonder I fell in love with the Octatonic scale, I mean I saw its potential... Repeats every two strings and every four frets, it has major & minor & half diminished & diminished chords with a minor 7 ... Its a Swiss army knife, it does anything with mikimal finger dexterity or head space but that is merely scratching the surface.
The variety is mind boggling.
Also what a fantastic video... Sounds like it deserves a good composition at exactly 88bpm :P
Another great example for Dimished scale usage in almost all movie is "Predator" which was also musiced by Silvestri. (E. g. Billy's Confrontation) I brought exactly this concept to my movie music analysis lesson during my master's degree of film music composition course. Thanks to Omni's engraved score, my teacher was very impressed by examples. It is amazing to see how economical Alan Silvestri and he knows exactly what he wants! As it's said in the video, It is very useful to exercise this "Technique" since it fits perfectly for lots of different types of music pieces, such as ironic, funny, action, tension etc. and it can be easily used also for "Art Composer" works beside of movie music. Thank you for this beatiful video and best regards,
Also by Basil Poledouris in STARSHIP TROOPERS, the movie with giant space-spiders. Eight legs...eight notes.
Thanks so much for this high quality content. Gonna try it myself at once🌞🎶
mm hmm yes nods.
I learned the main theme sheet music on keyboard. I really enjoyed learning it, and really started to get a feel for Silvestri's patterns, continuing with experimentation with the BTFF 2 and 3 music. But this is way above my head.
I'm not a musician, I just replicated the black dots on the paper and learned a bit more by ear.
Thanks for this gem of a video :)
Great analysis! Playing back the score in the background, great visualisation of the score, the way you unfolded the melodic elements - so intuitive for my brain! Thank you so much for your video, this is exactly the kind of content I'm looking for :D You even have a relaxed voice and melody of speech! I'm so happy to have come across you. Would be amazing to get more analyses like this in the future, bell is turned on! :)
Crazy how fast paced and dense this can get, and its amazing just how concordant he manages to make the octatonic scale sound too! nice job
The 6-tuplets are insanely fast!
The great Alan Silvestri would be very Happy to see your analysis.
Speaking from Korea, i wonder one day Omni figures out license problem for worldwide shipping for this amazing score so various composer can finally analyze this score.Btw this kind of video is soooo good.Thank you Omni for publishing and video👍
Amazing stuff Tim!!! thank you for putting this together!!!! would love to see some analysis of Mr.Jerry Goldsmith score in the future
Very good analysis of one of my favorite scores. Thank you!
This is good stuff! 👌
Good choice to cut the music in the film version. The silence represents Marty's realization and works a lot better. That's not to say the extra music doesn't fit, it's just that the scene is stronger without it.
Wonderful analysis Tim! And the "assignment" at the end is excellent!
LIKE, great analyses condensed in a bite sized video. 10/10
That was awsome!
Fantastic analysis! More of this please.
This video is so precious!! Please share more videos like this one, they're invaluable! :D
Very nice!
brilliant analysis. THANK YOU!! I think the cut music sections were mostly to punctuate some of the humor in the dialogue and interplay between marty and doc.
Brilliant assessment
This is really fantastic stuff. Thank you so much!
This is amazing. please do more of these please
More of these please!
Thank you for this!!!!!!!
Thank you for sharing this!
This is fantastic! Thank you for this!
I really appreciate all of the hard work you do Tim please keep up the great work you are doing with Omni.
your friend,
Joseph
Awesome stuff! Love this in-depth analysis!
Great stuff Tim. Glad to see you doing this...More please
One can just marvel at this briiliant score. Great insights in this video. Much appreciated. :)
This is incredible! Lots of information to unpack, definitely going to rewatch a few times to fully soak it in. A huge shoutout to the editor because this was very well edited.
Thank you!
Great analysis Tim !! Great score, and brilliant example of building entire cue (whimsical tension) out of Messiaen's second mode. Just like Stravinsky did already back in "The Firebird", Silvestri adapted the exact same idea of constructing entire passage throughout orchestra based on octatonic scales. It never "resolves" - the tension stays throughout the cue...
This is a wonderful analysis, it will give me a lot to think about for a while, it's so dense! I was in gradeschool when this movie was released and I've got some very vivid memories associated with the film and the music. I'll be studying the full score in detail. Thanks
Please do more of these videos!!
Great, thanks
This is great!
SSSHHH, you're giving away all of our secrets. Just kidding, this was wonderful. Thanks, I bought the score.
Ha ! There are NO secrets at all :-) It all has already been done 100 years ago...
can be heaxotanal pretushka too
The combination of the Lydian mode and the octatonic scale was a successful strategy for Silvestri to create a compelling score for Back to the Future.
Yeah, no wonder 95% of his other scores used the same octatonic concept for the last 40 years
great anylytics!
7:02 "Try to imagine" why they cut some of the musical score out of this scene? I'm not a filmmaker, but I think I've got this. As good as Silvestri is at writing exciting music, the audience can still be numbed by overexposure to it. Just as it's helpful to break dramatic tension with occasional comic relief, so is it helpful to break musical tension with occasional silence from the orchestra.
Great video! @3.00, how is the harp to play a chromatic gliss with more than 7 notes per octave? Unless the score specifies a chromatic harp?
Now that you mentioned, FFVII's Shinra Headquarter theme is basically an octatonic scale being played over and over
Please do The Kill Ring Next ( well from 1;16 ) More Octatonic mayhem !
I'd like to know more about how silvestri was influenced by his time at Berklee.
Who you calling a hafhole? :))
Great analysis, thank you.
i believe there's some boominess in the vocal, it becomes a little taxing on the ears so maybe that's something to improve in the next video. Looking forward to seeing more.
which cue is that extract from?
Interesting video!
I couldn't follow everything, but I don't think that's a problem, as I've only followed half a course on music theory, and this is probably intended for more experienced people.
"At the end of the day it is just a name we call a thing"
I thought they were both diminished scales - The 1/2 Step whole step and the whole step 1/2 step because they are inversions of each other
They are. But it’s very useful to have the modal distinction labeled. Octotonic = HW, Diminished = WH
@@garygimmestad4272 Well, I think of the half whole as a altered dominate - 1 b2, b3 3, #4, 5, 6, b7, 1
@@dynamicalan Sure - in chord scale terms. Sylvestri is certainly aware of that aspect too. He went to Berklee where that’s the essence of jazz theory. This definition, though, is more one- dimensional. It just describes the two options for intervallic succession. I like it because it makes it very simple to designate which one we’re talking about. Harmonic implications are a another dimension.
@@garygimmestad4272 Hi, Thank you for posting!
diminished escales I and II
2:14 every silvestri film score
Absolutely, he uses the same harmony in like 95% of his music
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