Apologies for the low-quality score. I didn't realize how bad it was when I put this on my upload schedule. UPDATE: Also gonna be a while until the next JW concert piece, because I just got my hands on the complete score to Star Wars: Jedi Survivor, and am going to be making a score video for that instead. (It's 4 hours long, so is gonna take a while)
I tried uploading the Ep. 4 score as my first video on this channel but that got blocked. Jedi: Survivor doesn't get blocked though since it's music from a video game.
You may already have it, but I think I could give you his Viola Concerto score if you want to make a video, although if I remember correctly it’s only a piano reduction one
I used open G+D strings on this recording. Then 1st finger on d string and 2nd finger on a string. John was a joy to work with. We met more quite a few hours together to hammer out all the details.
The first movement ending with a repeated C major chord, and the third movement starting with an E major ostinato and ending with a G Major cadence is pretty dumb. Other than great work as far as I'm concerned.
@@lylecohen1638 Its stylistically completely out of place. It you write an atonal piece write an atonal piece and don’t suddenly stick a perfect tonal cadence in the last 2 bars. Took me out of it completely and doesn’t work at all.
@@emiliandanila9590 Thanks for being so pedantic, condescending and judgy towards me even though you literally know nothing about me. I am in my second year of my masters in composition in conservatory, so I know perfectly well what atonality is and who Schoenberg is. You simply seem to have a very narrow view of the term. A piece does not have to employ Schoenberg's dodecaphonic techniques to be considered atonal. A piece should just avoid a clear tonal center, which this piece does not have (except in the few passages at the start or end, which I pointed out, and I don't think work at all). A polytonal piece is also considered atonal (like many of the passages in this piece), so my point still stands. Also, Schoenberg would absolutely never use such clear triadic harmonies in his atonal works as Williams does at the end here, except maybe in his early post-Mahlerian works like Gurrelieder or Verklarte Nacht, but those are obviously irrelevant for this conversation. Schoenberg is also not the creator of the atonal system, that's a common misconception. There are plenty of composers who wrote atonal pieces before him (Liszt's Bagatelle sans tonalité), and there are even composers who had 12-tone systems before Schoenberg, like Josef Matthias Hauer.
Apologies for the low-quality score. I didn't realize how bad it was when I put this on my upload schedule.
UPDATE: Also gonna be a while until the next JW concert piece, because I just got my hands on the complete score to Star Wars: Jedi Survivor, and am going to be making a score video for that instead. (It's 4 hours long, so is gonna take a while)
Good damn luck with copyright! (I have the score myself, as well as Ep. 2-5 + 8, but haven't uploaded any of them for that reason
I tried uploading the Ep. 4 score as my first video on this channel but that got blocked. Jedi: Survivor doesn't get blocked though since it's music from a video game.
@@TheOneAndOnlyZenowhoa. Tips on how I can get my hands on those scores?…
Amazing and beautiful
Thank you for all your work putting these valuable scores up!
Hahahahahhahaha
Thanks for these awesome uploads! I’m very familiar with Williams’s concert works but I’m hearing some for the first time on your channel! Ace stuff!
You're welcome :)
Interesting to here JW's non-pop fare.
You may already have it, but I think I could give you his Viola Concerto score if you want to make a video, although if I remember correctly it’s only a piano reduction one
I do already have the score (also only a piano reduction unfortunately) and may upload it after I'm done with my current list of JW concert works.
How can the violin play the 2nd chord of measure 2 in the first movement?
Hmmm. I don't know, actually. Perhaps it's a misprint?
For this chord, I believe the G-D portion is played first, and then the Ab-E is played on the D and A strings (respectively).
Just a quick retuning of the A-string.
I used open G+D strings on this recording. Then 1st finger on d string and 2nd finger on a string. John was a joy to work with. We met more quite a few hours together to hammer out all the details.
It's easiest just to play two and two, with a double stop on the g and d then a double stop on the d and a
The first movement ending with a repeated C major chord, and the third movement starting with an E major ostinato and ending with a G Major cadence is pretty dumb. Other than great work as far as I'm concerned.
What exactly is “pretty dumb” about any of that?
@@lylecohen1638
Its stylistically completely out of place. It you write an atonal piece write an atonal piece and don’t suddenly stick a perfect tonal cadence in the last 2 bars. Took me out of it completely and doesn’t work at all.
@@emiliandanila9590
Thanks for being so pedantic, condescending and judgy towards me even though you literally know nothing about me. I am in my second year of my masters in composition in conservatory, so I know perfectly well what atonality is and who Schoenberg is.
You simply seem to have a very narrow view of the term. A piece does not have to employ Schoenberg's dodecaphonic techniques to be considered atonal. A piece should just avoid a clear tonal center, which this piece does not have (except in the few passages at the start or end, which I pointed out, and I don't think work at all). A polytonal piece is also considered atonal (like many of the passages in this piece), so my point still stands.
Also, Schoenberg would absolutely never use such clear triadic harmonies in his atonal works as Williams does at the end here, except maybe in his early post-Mahlerian works like Gurrelieder or Verklarte Nacht, but those are obviously irrelevant for this conversation.
Schoenberg is also not the creator of the atonal system, that's a common misconception. There are plenty of composers who wrote atonal pieces before him (Liszt's Bagatelle sans tonalité), and there are even composers who had 12-tone systems before Schoenberg, like Josef Matthias Hauer.
@@emiliandanila9590 pretentious and adds nothing to the conversation.
Me when I'm very smart