As much flak as Phantom Menace gets, this is still one of the strongest cues we’ve gotten from all of the Star Wars canon (so good George Lucas felt the need to use it again in the following 2 films)
This is such a perfect example of an action theme that doesn't just rely on some boring drum pattern, or some repetitive pedal, or overused volume swells, this cue has real substance and actually has a PART, like how many contemporary action themes actually have a PART and not just some volume swelling tone-paint meandering over repeated drums? Anyone who wants to write good action music should look to cues like this.
Well, to be fair, much of what you hear in contemporary action films are what the director approves. This cue is so great because 1) it's the kind of music that George Lucas asked for 2) JW delivered it in masterful fashion. We're unfortunately in a time where filmmakers have less of an appreciation for the power of an effective film score so all they want is essentially musical WALLPAPER.
John Williams tends to score music with this technique quite a bit, fragmenting motifs and melodies, and moving back and forth. He does this in E.T.'s chase scene/escape scenes, and he does this a LOT in Jurassic Park. It's a bit of a duff of the cap to the development section of a sonata.
TBH I think the best few bars starts at 3:39... also You might want to check out some Mahler, Bruckner, Strauss, Ravel, Shostakovich, Dutilleux. As much as I love Williams and this piece in particular, I wouldn't compare it with neither of the above mentioned.
@@geoffstemen3652 I was amazed by his second Symphony, thought recordings do not come even close to the live performance I had the chance to be at (NOSPR, Sylvain Cambreling). Though this might also depend on where You are seated, when his cello concerto was performed in Frankfurt I was seated so afar that I didn't hear much - admittedly the highest part of the hall is called Olymp and Shostakovich 7th might project fine upon the mountain top... Tout une monde lontaine doesn't:D
Fun fact. The lyrics to the Duel of Fates come from a Welsh poem that Williams is fond of. It is called - Cad Goddeu (The Battle of the Trees) and he chose the following lines from it to use in the piece - Under the tongue root a fight most dread, and another raging behind in the head. Williams had the words translated into various languages and settled on Sanskrit as he was happy with the sound of the vowels.
Excellent analysis. Add in the Abbey Road Studio One acoustics. Just the right amount of layers, textures, and colors makes it an outstanding signature Williams composition.
What has always been fascinating me: The concert version starts with a full E minor chord, whereas the opening chord in the film version only consists of G and B, which makes it sound very interesting and indecisive. It could be either E minor or G major. Also, this way it sounds less tragic/dramatic and more glorious.
The opening chord consisting of a G and a B it would techincally be a G major, because B natural is the major 3rd of G; that would be the reason it sounds more glorious and less tragic or dramatic, as you say. But I also find it interesting anyway, beacuse it kinda represents well this idea of a "duel of the fates" between good and evil, putting a G major in the first declamtion of the chorus and then an E minor in the second one, which are relative to each other as well. Probably this was the intention behind that version you mention.
Back in 2001 in high school, I was in band. I convinced our band director, orchestra and choir conductors to perform this piece of music for our Spring concert. We started to practice this piece of music in band and after school with the orchestrastarting in october of 2000.
I am surprised no one mentions the obvious parallel to Prokofiev’s Alexander Nevsky Battle on the Ice (once it get’s going) - fake Latin text in that case, low string ostinato, trumpet interjections. It is a great “lift” by Williams - takes the idea and makes it his own in such an outstanding way!
The concert version of this piece (found in the Hal Leonard Signature Edition) has some altered orchestration that I think really detracts from the original film version of the piece. The London Symphony and Voice did a spectacular recording the original version. My favourite part is b.100 (2.39) where the busy orchestra briefly unifies tonally and rhythmically. I actually wish there were more moments like this in the piece. Thanks for sharing, David!
I think it was the other way around. The concert version, with more percussion orchestration, was recorded as part of the original sessions. Here is that recording: th-cam.com/video/d0Gk-3Qdjcw/w-d-xo.html I think the orchestration was maybe scaled back for the OST release version, which is what we hear in the reduction video here even though the score shows the percussion parts from the more percussively orchestrated version.
@@eb.1 Thanks for sharing this! I had no idea this was the case. But having now listened to this 'alternative' version, it's only affirmed my vast preference to the album version. This concert version I think lacks subtlety. However, it's still fascinating to hear an alternative version of a recording where very subtle differences in interpretation bring out new details you otherwise never hear.
Hey this is very important. I’ve been planning a surprise star wars concert for my music teachers in high school but the music is so hard to find. This is one of the songs I picked but I can’t find it anywhere. And it has to include Band, Orchestra, and Choir because I want to surprise all three of my music teachers. Is there any chance you know where I can find the music?
I get the impression that John Williams is in complete control over the direction the music is going rather then come up with a melody and see where it leads. He knows where to make changes and so on. I do wonder if the Duel of the Fates is borrowed from Anton Dvorak's New World Symphony? If Vader's theme is inserted within, I wonder what was the relation of Vader to Darth Maul in the Phantom Menace?
Theomite lmao no. It’s a cue name from “Phantom Menace”. It’s the second half of the “Passage through the Core” track on the album. The part that begins with the muted horns growling and swirling winds and strings floating around. Extraordinary piece of music
you can hear the mixer reach for the low winds, espeically this awesome Bass clarinet player at bar 20 beat 3 +. I wonder if JW requested that come out during the mix.
Did you mean bar 107 instead of 117? If so then I'm glad someone else noticed that because goddamn I love that little slur. Never thought of using the word "wet" to describe it, though that description works so perfectly that I'm surprised it didn't come to me naturally.
Having played it in an orchestra I actually came to realise the orchestration if far from perfect which makes it even more impressive how good it sounds in the movie! those session musicians were real pro's
In what way is it far from perfect would you say then? Perhaps its just hard to pull off by an intermediate Orchestra. That doesnt mean the Orchestration is bad.
Nice, although I'd argue that there's plenty of action set pieces in the Original Trilogy. Things like the Battle of Hoth and especially The Asteroid Field.
I really like all the added info you bring in with your analysis.... however (this is just my suggestion) how about a cleaner less busy with info reduction with chords, play that down, then go in stop&play to point out cool thoughts, ideas, special analysis. As it is-- goes by too fast and I can't read much without stopping. There has to be a better way. Also do you patreon to download your score reductions? You should! I do stuff like that. You are not selling scores, you are selling analysis and your channel.
Interesting you should mention that...I've actually thought about doing that where I pause and start the video and give the analysis verbally. My plan is to test that format out on some of my own compositions and see what the general population thinks about it. Also, I have a Patreon page ready to go as a matter of fact. But, I've been holding off on it until it would get some actual traction and until I can actually promise decent benefits.
@@DavidMcCaulley I think both verbally and the text boxes would be good. That way people can follow because right now it is information overload. I just focus on the notes... no time to ready anything you type.
@@DavidMcCaulley I think what you're doing is wonderful. I feel, you could do something like that on a fan basis level, to your discretion of course. But rather than wasting time and touching extra verbal opiniated premises, you get right to the point. Great job in my opinion. Your entire Batman analysis is something out of this world. Score reduction isn't for the faint of heart, your part writing is admiring, you hit the spot man. Congrats
Hi, I was wondering if you have a pdf download of your score & comments? I can pause and screenshot the video, but it would be nice to sit down with it so I can study it at leisure. :)
I am not hearing the piatti or sus cymbals until 3:30. Did they omit these from this recording or are they just buried in the mix? Also fantastic job on the reduction, this is invaluable!
New to reading scores here! Question, do the higher melodies usually get printed at the very top of the score like this? Or is it just the way you organized it? I find it super helpful to read.
Wonderful!! I don't think I've ever seen such amazing annotations... Keen eye.and ears. I'd like to know if you could do a score analysis on Padmes funeral? And also, I know you so analysis for Tim Burton films. Can you do Edward Scizzorhands Waltz and Frankenweenie theme? The Padme version I was speaking of: th-cam.com/video/0MiwS_buf2w/w-d-xo.html
As much flak as Phantom Menace gets, this is still one of the strongest cues we’ve gotten from all of the Star Wars canon (so good George Lucas felt the need to use it again in the following 2 films)
John Williams can do no wrong, he's the master of movie music. Absolute greatest of our time.
This is such a perfect example of an action theme that doesn't just rely on some boring drum pattern, or some repetitive pedal, or overused volume swells, this cue has real substance and actually has a PART, like how many contemporary action themes actually have a PART and not just some volume swelling tone-paint meandering over repeated drums? Anyone who wants to write good action music should look to cues like this.
Well, to be fair, much of what you hear in contemporary action films are what the director approves. This cue is so great because 1) it's the kind of music that George Lucas asked for 2) JW delivered it in masterful fashion. We're unfortunately in a time where filmmakers have less of an appreciation for the power of an effective film score so all they want is essentially musical WALLPAPER.
Yeah I can’t stand that either. All the action music cues sound so similar And have no identity anymore.
@@DebF124 Blame Mr. Hans Zimmer
@@kingskid1985Calling modern scores "Musical Wallpaper" is a great description ha
@@dfsilva3617Nah I blame the unimaginative directors who all ripped off Hans Zimmer
2:19 - 3:39 one of the most exciting orchestral passages ever written
John Williams tends to score music with this technique quite a bit, fragmenting motifs and melodies, and moving back and forth. He does this in E.T.'s chase scene/escape scenes, and he does this a LOT in Jurassic Park. It's a bit of a duff of the cap to the development section of a sonata.
TBH I think the best few bars starts at 3:39... also You might want to check out some Mahler, Bruckner, Strauss, Ravel, Shostakovich, Dutilleux. As much as I love Williams and this piece in particular, I wouldn't compare it with neither of the above mentioned.
Roman Czura - love all those except Dutilleux, whom i’ve never heard of - any recommendations on his major works?
@@geoffstemen3652 I was amazed by his second Symphony, thought recordings do not come even close to the live performance I had the chance to be at (NOSPR, Sylvain Cambreling). Though this might also depend on where You are seated, when his cello concerto was performed in Frankfurt I was seated so afar that I didn't hear much - admittedly the highest part of the hall is called Olymp and Shostakovich 7th might project fine upon the mountain top... Tout une monde lontaine doesn't:D
Roman Czura - thanks!
Fun fact. The lyrics to the Duel of Fates come from a Welsh poem that Williams is fond of. It is called - Cad Goddeu (The Battle of the Trees) and he chose the following lines from it to use in the piece -
Under the tongue root
a fight most dread,
and another raging
behind in the head.
Williams had the words translated into various languages and settled on Sanskrit as he was happy with the sound of the vowels.
thanks for this tidbit.
Excellent analysis. Add in the Abbey Road Studio One acoustics. Just the right amount of layers, textures, and colors makes it an outstanding signature Williams composition.
My son will be singing this for a highschool choir performance. I’m so stoked to hear it!
What has always been fascinating me: The concert version starts with a full E minor chord, whereas the opening chord in the film version only consists of G and B, which makes it sound very interesting and indecisive. It could be either E minor or G major. Also, this way it sounds less tragic/dramatic and more glorious.
The opening chord consisting of a G and a B it would techincally be a G major, because B natural is the major 3rd of G; that would be the reason it sounds more glorious and less tragic or dramatic, as you say. But I also find it interesting anyway, beacuse it kinda represents well this idea of a "duel of the fates" between good and evil, putting a G major in the first declamtion of the chorus and then an E minor in the second one, which are relative to each other as well. Probably this was the intention behind that version you mention.
Twice the comprehension, double the chills!
Back in 2001 in high school, I was in band. I convinced our band director, orchestra and choir conductors to perform this piece of music for our Spring concert.
We started to practice this piece of music in band and after school with the orchestrastarting in october of 2000.
Those off-beat trumpet notes at 2:57 are so damn good
I watched this whole thing because of the lyrics and you're lyrics made me subscribe XD
I would argue that this is Williams' finest piece of music. As somebody else stated, 2:19 to the end of this piece is just sublime
I am surprised no one mentions the obvious parallel to Prokofiev’s Alexander Nevsky Battle on the Ice (once it get’s going) - fake Latin text in that case, low string ostinato, trumpet interjections. It is a great “lift” by Williams - takes the idea and makes it his own in such an outstanding way!
The concert version of this piece (found in the Hal Leonard Signature Edition) has some altered orchestration that I think really detracts from the original film version of the piece. The London Symphony and Voice did a spectacular recording the original version. My favourite part is b.100 (2.39) where the busy orchestra briefly unifies tonally and rhythmically. I actually wish there were more moments like this in the piece.
Thanks for sharing, David!
I think it was the other way around. The concert version, with more percussion orchestration, was recorded as part of the original sessions. Here is that recording: th-cam.com/video/d0Gk-3Qdjcw/w-d-xo.html
I think the orchestration was maybe scaled back for the OST release version, which is what we hear in the reduction video here even though the score shows the percussion parts from the more percussively orchestrated version.
@@eb.1 Thanks for sharing this! I had no idea this was the case. But having now listened to this 'alternative' version, it's only affirmed my vast preference to the album version. This concert version I think lacks subtlety. However, it's still fascinating to hear an alternative version of a recording where very subtle differences in interpretation bring out new details you otherwise never hear.
Hey this is very important. I’ve been planning a surprise star wars concert for my music teachers in high school but the music is so hard to find. This is one of the songs I picked but I can’t find it anywhere. And it has to include Band, Orchestra, and Choir because I want to surprise all three of my music teachers. Is there any chance you know where I can find the music?
Excellent! I didn’t know this existed. My favourite Star Wars theme by one of my favourite composer. Thank you so much.
Yeah ! I've been waiting impatiently since you announced it ! Great work as usual !
This is truly Williams best song he ever composed. For a lot of reasons explained in many different videos and better than I can express here
To me it's those horn stabs that makes this piece what it is. Vivid flashes of light as you speed through. Such anger and fire. Insane
I love the analysis of the music in relationship to the film! Really awesome stuff!!
WOW THIS IS AMAZING! Absolutely amazing work!
I get the impression that John Williams is in complete control over the direction the music is going rather then come up with a melody and see where it leads. He knows where to make changes and so on. I do wonder if the Duel of the Fates is borrowed from Anton Dvorak's New World Symphony? If Vader's theme is inserted within, I wonder what was the relation of Vader to Darth Maul in the Phantom Menace?
Gone Fishin’ pretty please. It’s the cue with the line “there’s always a bigger fish”
Mike K Yes I love that cue
The movie with Joe Pesci and Danny Glover?
Theomite lmao no. It’s a cue name from “Phantom Menace”. It’s the second half of the “Passage through the Core” track on the album. The part that begins with the muted horns growling and swirling winds and strings floating around. Extraordinary piece of music
Fantastic analysis!!! Awesome!!!
Love this channel, thanks for all your videos and hard work..
you can hear the mixer reach for the low winds, espeically this awesome Bass clarinet player at bar 20 beat 3 +. I wonder if JW requested that come out during the mix.
Did you mean bar 107 instead of 117? If so then I'm glad someone else noticed that because goddamn I love that little slur. Never thought of using the word "wet" to describe it, though that description works so perfectly that I'm surprised it didn't come to me naturally.
Awesome!! Could you please make a score analysis of „Enter Lord Vader“ (originally „Movin Things Along“)?
One of many masterpieces
John Williams didn’t need to go that hard. But he did. He did that for us.
1:41 The Imperial March in the low brass lines
Amazing video!!
Excellent work thanks a lot
Awesome. Thanks so much.
Introduce a chord in a movie music is totally amazing, it gives a greater dimension to the music and the scene
Having played it in an orchestra I actually came to realise the orchestration if far from perfect which makes it even more impressive how good it sounds in the movie! those session musicians were real pro's
In what way is it far from perfect would you say then?
Perhaps its just hard to pull off by an intermediate Orchestra. That doesnt mean the Orchestration is bad.
This is a Gem
Nice, although I'd argue that there's plenty of action set pieces in the Original Trilogy. Things like the Battle of Hoth and especially The Asteroid Field.
You make a fair point...
I LOVE the Asteroid Field, some crazy stuff there!
3:23 - 3:36 is test of musician`s nerves while playing live.
Very insightful! Please can you do portals by Alan Silvestri. Thanks
I really like all the added info you bring in with your analysis.... however (this is just my suggestion) how about a cleaner less busy with info reduction with chords, play that down, then go in stop&play to point out cool thoughts, ideas, special analysis. As it is-- goes by too fast and I can't read much without stopping. There has to be a better way.
Also do you patreon to download your score reductions? You should! I do stuff like that. You are not selling scores, you are selling analysis and your channel.
Interesting you should mention that...I've actually thought about doing that where I pause and start the video and give the analysis verbally. My plan is to test that format out on some of my own compositions and see what the general population thinks about it.
Also, I have a Patreon page ready to go as a matter of fact. But, I've been holding off on it until it would get some actual traction and until I can actually promise decent benefits.
@@DavidMcCaulley I think both verbally and the text boxes would be good. That way people can follow because right now it is information overload. I just focus on the notes... no time to ready anything you type.
@@DavidMcCaulley I think what you're doing is wonderful. I feel, you could do something like that on a fan basis level, to your discretion of course. But rather than wasting time and touching extra verbal opiniated premises, you get right to the point. Great job in my opinion. Your entire Batman analysis is something out of this world. Score reduction isn't for the faint of heart, your part writing is admiring, you hit the spot man. Congrats
This and the Imperial March are my favorites.
David McCaulley could you analyse the beginning of "Close Encounters of the Third KInd"?
Does anybody know where I can find this exact version of sheet music? It’s important
Hi, I was wondering if you have a pdf download of your score & comments? I can pause and screenshot the video, but it would be nice to sit down with it so I can study it at leisure. :)
Say what you want about The Phantom Menace, but this piece is one of the best Star Wars tracks ever aside from the main theme.
Awesome man! Would you cobsider doing these for the Lord of the rings soundtrack as well? Would be so appreciated.
*grabs cushion. Places on lap.
Yeeeeeaaaaah boi
My left hand is having a seizure right now.
oh hell yeah
I am not hearing the piatti or sus cymbals until 3:30. Did they omit these from this recording or are they just buried in the mix?
Also fantastic job on the reduction, this is invaluable!
Darth Maul awaiting orders.
New to reading scores here! Question, do the higher melodies usually get printed at the very top of the score like this? Or is it just the way you organized it? I find it super helpful to read.
John “Willliams...?” 😅
Is the first chord not just Gmajor? I don’t hear the E in any of the voices.
What is the instrument used that starts at 0:16?
String section!
@@vonwaldauer5619 Thank you
@@revolution1423A bit late but it’s actually just the violas with additional clarinet doubled by a bass clarinet
do you have a copy of this video and score without the annotations? I'm doing a school project
Wonderful!! I don't think I've ever seen such amazing annotations... Keen eye.and ears. I'd like to know if you could do a score analysis on Padmes funeral? And also, I know you so analysis for Tim Burton films. Can you do Edward Scizzorhands Waltz and Frankenweenie theme?
The Padme version I was speaking of:
th-cam.com/video/0MiwS_buf2w/w-d-xo.html
Can you upload a Battle of the Heroes from revenge of the Sith but with score reduction and analysis?
1:02 what is it?
Is it possible to get the score reduction as a pdf?
Ook!
This is literally dvorak symphony 9 third movement