Modes in Star Wars themes
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- เผยแพร่เมื่อ 6 พ.ย. 2018
- I analyse the use of modes and key changes in the music from Star Wars including The Force Theme, Yoda's Theme, Leia's Theme and Rey's Theme.
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John William's conducting 'Duel of the Fates': • John Williams STAR.WAR... - เพลง
❗️UPDATE: I had to remove the last example from this video (Rey’s Theme) due to a copyright issue. Sorry about that! I thought I should let you know to avoid any confusion.
fungus
This is so deep. I never realized how much of a genius John Williams really is until I started to look at his themes
"The Force Theme", aka "the theme we'll shove down your throats in every trailer now to trigger that juicy, juicy nostalgia"
spiffcorgi More like: The Force theme that will appear every time something happens that has a positive impact on the balance of the force. Therefore, it will be present in the trailers as these movies also have those moments so to advertise said movie accurately, we need to musically represent some of what you can expect from the story.
'The Force Theme' is very important. As it often plays when Force is at work. It's meant to single to us the audience, that a higher power is at work guiding/controlling the events of the galaxy.
Disney's a disaster to the formally genious franchize.
But what you say is true only because it was a great masterpiece. You don't just "outdate" masterpieces. That's the beauty of music for me - it's always more than what business and vanity can dictate it to be. It's mathematics of emotions, once you develope a formula, it's here to stay, it's in the world of ideas, not the world of things.
Alexey Filippenko I disagree that Disney is a disaster but you’re right about the music.
It’s very interesting that the new trailer uses Leia’s theme exclusively.
This is incredible. I love this series-- so useful to see theory in practice.
Particularly cool to see how harmonic minor is used here, since I usually just think of it as a strange-sounding scale I can't use for anything.
Thanks!
Thank you. Harmonic minor always feels 'classical' to me (Turkish March or Fur Elise or something like that). You get it a lot in pop music too.
Harmonic minor is natural minor with a major V chord. That's the basically the only practical difference.
@@liteoner Minor music very often has a V-i cadence. It is just stronger. It has nothing to do with harmonic minor. It is just that for your melody over the I-V chord, you have the option to use harmonic minor. But usually you would use melodic minor. For a V-i you either sacrifice the melody for harmony and get the strange exotic b6-7 interval. Or you sacrifice the harmony by getting an augmented and two diminished chords.
@@Prometheus4096 Harmonic minor _is_ minor, so I'm not sure what your point is.
@@liteoner I think he meant natural minor.
It’s amazing how articulately and clearly you can talk about music, whose intangible qualities are often difficult to describe in words. Nice job 👍🏼
You've got to do lord of the rings next!!!
Midnight Brewers commenting to show my approval
AGREED! and still waiting for this! Especially the "Lothlorien Theme" and "Houses of healing".
YES!
Y E S
YES PLEASE
I would think that John Williams has so thoroughly internalized modal tonality that he consciously doesn't seek to impose the modal sounds but creates scores which just happen to incorporate modal tonalities along with such things as modal interchange.
kwixotic correct
I would think that this might be true when he is just trying things on the piano, but i think he thinks alot about all the harmonies and modes actively.
HOWARD SHORE! Lord of the Rings composition analysis would be awesome!
Yes!!!
My channel got ya covered
Thanks for the great presentation! I have two things to add:
-In Binary Sunset, the harmonic minor is introduced by D major (F sharp being the leitton). It briefly turns to some sort of regular minor with B flat major. The following E flat major can be used in both.
-There is a name for the scale used in Leia's theme: harmonic major (which is major with a flat 6, so that the iv is minor)
Nice music theory analysis, i opened up my theory book again, your channel inspires me!
you should get the viewers to submit their compositions, and analyse them like this, it would be so cool!
I'm a Star Wars nerd and a music theory nerd. Thank you for this David. I'm so engaged right now.
Here from r/musictheory, this is a brilliant video - the right amount of depth, good pace and variety while sticking to your educational theme 👍👍👍
thank you :) Glad it's working
I grew up being an admirer of John William's music. Thank you for shining more light on his work.
Ugh I love film score motif shit so much, and I love that you make videos like these. This level of in-depth niche analysis is exactly what TH-cam needs more of haha
This was so fascinating! I could watch these all day.
Another interpretation:
0:25 Gm, C, D are part of Gm melodic. Gm, Eb and Bb are part of Gm aeolian (Gm harmonic seems off because that doesn't contain Bb but rather Bb+). Williams fools around between the two.
3:17 Am and B are part of Em harmonic. So are C and F#dim. If you change B to Bm you simply go from Em harmonic to Em aeolian (enharmonic with C Lydian), which adds G and D. So wherever you are in this Yoda theme, you are always in a key of E (except for the part with dm, that's indeed the key of C Ionian)
Very enlightening video. I have subscribed. Thank you for your very clear presentations of these most interesting insights.
"Back down to Tatooine" Good one!👌
Goosebumps kicking in from the first second
Thanks for another very spot-on vlog!
This was WONDERFUL! Thank you for extrapolating on this!!!!
Nice video! Beginning of Leia’s theme is a mode though, it’s the 5th degree of the melodic minor scale, or Mixolydian flat 6th.
Awesome job! I grew up listening to his scores , so goood . Always thought he could set proper mood . Never thought it was easy as simple modes !
Thank you so much for your great videos. I finally got another view onto modes because of your explanations!
Another excellent video.Thank you.
I can't believe you haven't talked about Howard Shore's Lord of the Rings theme. The brilliant way that score re-uses different leitmotifs in subtle ways is amazing!
The Cmaj and Dmaj chords in bar 4 could be considered from G melodic minor (G A Bb C D E F#). The C can be seen to come from that and then it goes to harmonic minor for the rest. It still alludes to Dorian in sound somewhat. The yoda theme after the temporary tonic of Bm and then the Am again then implies E harmonic minor again with B7 and the D maj but without the temporary tonic, this leaves the phrygian interpretation of the Bm to Am without grounds as the tonality though the third of Am being C does allude to phrygian somewhat (b9 of Bm). You could see the D to Gm (I-iv) as Mixolydian b6 or Harmonic major (Ionian b6) Eb and Dbm both are in Eb Phrygian dom especially since it goes to Ebm afterwards and then a Bbmaj which is it's V chord secondary implying a possible pivot which then pivots back to Bb as the I.
David that was a very good lesson. Thank you.
Brilliant. Keep going, I am one of many current and many future subscribers enjoying your videos.
You need to do Laura Palmer's Theme from Twin Peaks, many good tracks on that but that one I would say is the best and the most emotive journey. The original Robocop Soundtrack too, some great tracks on there. The Isengard Theme from LOTR is good too. Also, 'Death is the Road to Awe' by Clint Mansell. Maybe The Surface Of The Sun by John Murphy too.
Love the 5/4 for Isengard. So offputting and jangly, perfect choice. I adore Howard Shore.
Thank you for breaking it down for us to appreciate even more
Nice work.
I'm not convinced on your Phrygian interpretation of the Am-B-D in the Yoda Theme. This section of the theme is too modulatory, with too brief touches on key areas for the A minor chord to be considered part of the B minor world. Also, I think for it to sound "phrygian", you really need to have that undeniable melodic movement of ^b3 to ^b2 to ^1 ( or vice versa). Glad to hear other folks' thoughts on it!
Josh Josh I agree with your explanation totally. While we might be using the same notes as a particular mode, modes in my opinion are best utilized or explained as “sounds” and as you said, we don’t hear a Phrygian “sound” in the melody there.
Also in the first example, while it does contain notes of the G Dorian scale, the melody has no Dorian quality as it never contains the 6th scale degree (E). It’s just that we have a C major chord borrowed from the key of G major. To me, it isn’t the mode, but this brief temporary shift from G minor to G major that hits our ears to create this uplift in mood.
People that can compose arrangements of this complexity are the Einsteins of music. Magical talent and skill.
Brilliant analyses. Another (among so many - Dracula Main Title Theme among them) - is the Elke the cat phrase in The Towering Inferno. It's a complex symphonic gesture in its own right but is a William's brilliant throw-away in this film.
You are gifted. I took 4 years of music theory. You were clear, concise, and very interesting. Unlike my theory teacher. I will subcribe. And please find some more rehearsal and recording videos of any of your fav composers. Thank you
This was fantastic, thank you for sharing your passion.
Great video, great channel. Please make more John Williams vids, the guy is a sensation.
Very interesting and you did an excellent job explaining. Subscribed!
Duel of Fates still takes my breath away.
Great work again!
Just found your channel. Excellent content!
This is such a wonderful video.
John Williams' soundtrack for Galaxy's Edge also uses the lydian mode extensively...
I really really appreciate your videos. I am, at best, an amateur musician but I can still follow what you are saying. Thank you.
James Horner would be cool to see. Love his work on Willow, Brave Heart, Avatar, Apollo 13, Land Before Time, Legends of the Fall, Troy, Jumanji and Titanic, along with so much more.
I love this kind of video!
Compliments, really well done!
I've subscribed to the channel.
Thank you for this video. I love your channel.
Thank you!
Battle of The Heroes has such an amazing melody! I would love some talk about that one :D
Leah's theme reminds me a little of the opening bars to Wagner's Overture to Lohengrin (the 1st act), which seems to employ very similar harmonic modulations...and with equally emotive results!
Not to surprising, John Williams (like any composer really) is heavily inspired by, and builds upon, existing music. Listen to Gustav Holst's 'Mars' from the Planet Suite. You could pretty much just put that onto a Star Wars soundtrack CD and no-one would notice. Especially the bit about 4 and a half minutes in.
Leila's Theme is actually clearly in the D harmonic major mode (D E F# G A Bb C# D) That's one of JW's most used modes...
Great video! nice pacing, visual context, and I particularly thought it was original to show reharmonize part of the music to demonstrate how it would sound different if it didn't change modes.
I'd love a full series on John Williams, to be honest. There are just so many excellent pieces to break down, even just within the Star Wars themes (Across the Stars, Anakin's Theme, Anakin vs Obi-Wan)
Great video, you deserve way more views!
Thank you for this video! :)
Love that video!
And it would be great if you make more like these! :)
Awesome video!
I will however point out though that in the "force theme" you said something a bit misleading. You said that the shift to harmonic minor is highlighted by the Eb chord. The first measure certainly establishes in natural minor, modulates to a Dorian feel at the end with the C, and uses a harmonic minor turnaround at the end with the D major chord. This is truly what establishes the "harmonic minor" feel, not the Eb.
You said in the video that the Eb chord is in G harmonic minor but not G Dorian. That's true, but a bit misleading because the Eb chord is a characteristic chord of G natural minor, though not necessarily the harmonic minor (since it doesn't contain a Gb note). I'd argue that the D major chord suggests the harmonic minor modulation much more directly since it includes a Gb note in the chord, and the Eb just reinforces it since it's a really strong pull to the natural (or harmonic) minor (but not in and of itself indicative of harmonic minor). This is strengthened because the emotional apex of the theme is on the Eb chord, but that's still more of a "natural minor" chord than a harmonic minor one in the key of Gm.
The harmonic minor shift is again highlighted by (again) the D chord at the end of the theme where it creates a strong and serious resolution back to Gm.
Great vid all in all, I absolutely loved it and it got me thinking and playing. But I just wanted to point that out because it had me scratching my head and in case anyone else had confusion as well I just wanted to point out that the D chord is truly the chord that highlights that harmonic minor, not the Eb.
What a great video! Thank you
Charlie Whelan Cheers 🙏
great video - it's always fun to sit down and analyze how different composers think. Especially the ones where we all know the themes. The funny thing is that when i first heard Rey's theme i didn't really like it. Mostly because that Dorian to Mixolydian is not something that John Williams does as often, as some other composers, which is to be honest kinda his charme - I also didn't think it was as memorable as some of his other themes. But after hearing it well 50+ times it really like it.
About time I come across your channel, greetings from Apache/Diné Nation from Arizona 🤘🥁
Thank you :)
Awesome !! I'm used to rick beato, adam nelly, and many other, still your videos are a really nice add to my music theory youtube channels
Always amazed how movie soundtrack are made, maybe anylize, Good, Bad, Ugly, soundtrack, that I look forward to, glad to be new subscriber, glad found you👍🎼
Ennio morricone
At 5:58, you mentioned how Eb modulated to Db but I would suggest that he used Db as part of Eb Mixolydian since he goes from Eb to Db and back to Eb which is a common way to express the Mixolydian (I-VIIb-I). Just my thoughts but, other than that, you teach very well and thank you for what you are doing.
the force theme gives me goosebumps every single time i hear it
It's not John Williams, but a "modal modulation" I love is the closing song "Down to Earth" by Peter Gabriel from Wall-E. The verse is in Lydian, with the raised 4th used throughout the movie to signify high tech (very common in sci fi). But then he modally modulates (if that's the word) to Mixolydian, with the flat 7th so common in gospel, for the chorus. Same scale notes, but different tonal center. It's a completely appropriate and powerful switch between the sharp sci fi and the flat down to earth worlds. I've never heard this sort of move in any other piece, and it works well here.
Nice illustrations. I know John Williams gets some criticism about borrowing from historical works (temp-track emulation?) but these modal shifts, modulations, and the fluid melodies they support has to be acknowledged. I also appreciate the video clips you include at the end like the scoring stage session here.
John Williams's ET Theme represents a great use of Lydian mode.
“Cool a video about a good music! Maybe I can learn something!”
Watches video
“I know some of these words”
my fav so far. u rok David!
Very interesting video!
~ Thanks for posting this Video ~
This definitely needs a part 2.
Great video. Thank you so much for this. I really love learning from great composers (with your help). Cheers.
Awesome video. Would love to see your take on how the incredible score of The Lord of the Rings uses modes too!
The single most iconic thing John Williams has ever written, is probably the Imperial March. Though being a March, I don't know if it uses the less common modes much. The most *emotional* thing he's ever written, is probably the flying sequence, from ET.
So good
thanks mate!
I don't think they've ever really met, but I would love to be listening in a room that was hosting a conversation about songwriting between Brian Wilson and John Williams. Two different styles and different approaches, but both geniuses in the field...it'd be neat to hear what they would say.
John Williams is such a master of masters. The Rey theme always felt a little too Harry Potter to me though. Still great.
The Yoda piece is an example of modal music, as it is a vamp interchanging two chords and then changing the character, hence the mode, of the progression. It has no harmonic movement and no cadences.
Cool stuff! 😅 Excellent analysis! 😂
Hi David - thanks for a great video, I've just subscribed! At 1m 30s you mention that the Force theme returns to the Harmonic Minor after the Dorian lift - what qualities of that passage make it harmonic minor as opposed to aeolian/natural minor? Presumably there'd be an F# in there, but where does it occur here? I guess another obvious modal interchange would be in the Star Wars theme itself - it's in Bb major, but the last bar has a G# chord into the final F - I hear that as a quick shift into Bb mixolydian. Does that sound right to you? Thanks again and best wishes from Wales.
well said 👏🏼👏🏼👏🏼👏🏼👏🏼
Love it, although, this is quite misleading sometimes when explainations are simpler on the circle of fifth...
But that is just from a different perspective I guess.
Keep up the good work man !!
Thanks dude
Hi David! I really love your analysis! I am currently writing a paragraph analysis on The Force Theme and Leia's Theme. You're analysis really helped me! I'm just curious what app you're using, like how did you change the C major into C minor. Is there an app? I like to play around with music, but my apps aren't that good.
Anyway your analysis is so great!
I really don't think JW was worried about modes. I think he was hunting good melody and texture. Moving through keys and including modal interchange became the new sound of Hollywood, embraced by Howard Shore and Thomas Newman to name a few. Nice analysis though.
3:53 I imagine an annoyed conductor stopping the orchestra then staring daggers at you for talking over the piece 😅
I dont think that the use of modes here is inappropriate. These aren't "modal" but perhaps brief colors of modality can be claimed... like borrowing from the parallel key, in my opinion. (At 0:30 in the Force Theme) He probably put the IV borrowed from the major as a hint to Dorian mode as the Dorian is the war mode... kinda funny.
Some of these might be easier to describe as chromatic mediants, secondary dominants and chromatic leading tones and neighbor tones, though, like the 2nd half of Yoda's Theme.
I would make a bigger deal of connecting the opening Force Theme, with the last "Ray's Theme" was it? They both share the borrowed IV chord in a minor key... and could both be a hint at Dorian mode to go along with the "war" theme. That connection should be the element that ties the theme of the video together....
oh I just realized... I haven't seen the movie, but doesn't she meet up with Luke Skywalker? Isn't that a connection between the 1977 Luke on tatooine and the modern day Luke on whatever planet he is on? That's probably why the same "mode" or borrowed chord was used. Very clever Mr. Williams. :-)
The theme for E.T. rarely stays in the same key for two consecutive bars as the character arc moves through every motion a sentient being could experience being abandoned on a strange planet.
I’d love to see a video/videos like this about Lord of the Rings
Hey. This is some really good analysis. But that FM chord after the DM in Rey's theme doesn't figurate. In fact, my mind fills in a minor quality chord -- Am. Someone else might fill in a diminished quality, owing to the F-sharp in the earlier bar. I think it's fair to say Williams left out the root of the chord until the very end of the bar to cause this tonal uncertainty. And I wouldn't bring it up, except you've neglected some chordal figuration eariler in the video. But, like I say, it's awesome to see someone talking about modes this way, with a clear and distinct understanding of how they make meaning.
Good point about the uncertainty. A Schrödinger’s Cat of a chord to add to the feeling of resolution when the root finally is revealed. That’s a really nice point.
The Force theme is also a modal interchange rather than a dorian mode..
This is an amazing channel for theory nerds! I love it! Keep up the great work! PS can you analyze how billy Joel uses modes in New York State of Mind?
re-iterating what i said on another comment but I would absolutely adore a video or two (or three... or four...) on Howard shore's Lord of The Rings soundtracks. Especially the "Lothlorien theme" and "The houses of Healing". But seriously any and all of it would be awesome.
Awesome video! Please do Adventures on Earth from ET!!
6:16 "the next four bars all stay diatonic to Eb minor".
Sorry if this has already been addressed, and I don't mean to nitpick, but I think thosr 4 bars are in Eb dorian, no? I mean I would interpret it as Em as well, with the Bb major serving as almost a V7, which is extremely common in this type of music. Many would say it's from the "harmonic minor", but it is so common, just calling the whole phrase minor is what I would usually do. But...
The only complaint here is that you call it "diatonic". Isn't that usually reserved for strict major/natural minor? Maybe I am wrong, or using it in an archaic way...anyway, great video as always!
Did you notice the resemblance of the last bars of Reys Theme and Double Trouble from the 3rd Harry Potter movie? Thanks a lot for your work!
Excellent video ! But I hear rather C - F (and not Dm) - Cmaj7 on the second part of Yoda Theme ? No ?
In jurassic park main theme he does a lydian beginning w. I II followed by a iv V IV back to major.
A quick question re the first part of the video when you say the C is related to G Dorian...couldn’t the C and D also be implying G major (as the 4 and 5 chord). As there is no F/F# being played to give us context over the C I’m just curious as to why you chose G Dorian when it could also be G Ionian?
because the tonal center is C and not G. The D major doesn't resolve to G