zoltan902 you put too much emphasis on the Oscars. They don’t matter nor does it belittle the work of the maestro. Oscars don’t mean shit. It’s just a publicity thing so they can say “Academy Award winner” in trailers. Nothing more
The Ark theme is one of the most amazing theme in movie soundtracks. Relatively simple, but simultaneously conveying mystery, antiquity, power, beauty, and danger.
Eh, it was still the super-early 80s. Everybody was trying to keep the 70s prestige film going and nobody realized that the art was back in the genre film again. Seriously: look at the Big ticket Oscar winners from 1980-1983. Does anybody watch them anymore? Have you even seen them? I know I haven't.
@@Theomite I said the score should have won the Oscar, not the film. And just because you haven't watched anything from that era, doesn't speak for everyone.
I'm sorry, if this music doesn't give you chills, you don't have a soul. Works fantastic in the scene. I think this theme some Herrmannesque vibe to it, doesn't it? Great analysis, as always.
@@marionbaggins that's an amazing cue too, too bad they cut some part out in the movie. Both pieces are great though, and the ark theme is definitely my favorite artefact theme from all IJ movies.
When the choir comes in at 2:26, I get chills, and it only gets better from there. So intense! I think the only JW that's more intense for me is "Burning Homestead" from the original Star Wars. It's like getting dragged through an emotional wringer.
Fantastic analysis. Having been involved in music all my life, I recognize much of what you are saying, but I don't have the depth of knowledge you have to show it so masterfully. Thank you for this! I was just pointing out this is one of my favorite parts of the movie, and there's hardly any dialogue. The music tells the story of what is going on so well, that you don't need any dialogue, and your analysis shows exactly how.
Well, I wouldn't exactly call them unrelated :-) Cm and F#m are both from the octatonic scales which have minor chords spaced minor thirds appart (so Cm and F#m a tritone (two minor thirds) appart in this octatonic half-whole from the C-note), and gives a very specific sound that JW use all the time. In the continuation of the melody he plays Abm to Ebm which both are in the Eb natural minor, then another octatonic relationship between Gm, Bbm and Dbm, all three in the same octatonic scale (half-whole from Db), and the Dbm being a whole step above the Cm leads down to the Cm again ready for another round :-) Not traditional functonal harmony for sure, but still a pattern that can be descerned by our ears somehow as this sounds so great!
Absolutely wonderful its amazing to see the scores presented this way. Ever consider doing the scores of Basil Polidoruis Conan the Barbarian? I have copies and would love to see them broken down into the format you are doing. let me know and I will send them to you plus any other score from a vast collection I have As I would love to see many modern Film scores presented in this way that you have. Many thanks again to you for this ....The Williams map room is my absolute favorite It Grabbed my attention seeing the film for the first time as a teenager.....changed my direction into studying music. and influenced my love of many fields of study and interests.
Basil Poledouris. Had he composed the score to Serpico, starring Al Pacino? I just reseached it: Mikis Theodorakis. I loved the song "Beyond Tomorrow" "Beyond Tomorrow," Mikis Theodorakis
Great reduction :-) Did you transcribe this or is the full score available for purchase somewhere? Just noted one thing, that the string runs over Cm and F#m are notated as harmonic minor runs, which surprises me as Cm and F#m are both from the same octatonic scale, and would have thought the runs where in the corresponding octatonic scale rather than changing to harmonic minor over them.
He definitely has a full score. Note that at the very start of the video it says "6m2..." That's how the cues are usually notated in movie scores. I've seen several of them, they all have this. Also, I think there's no way he could have transcribed a full orchestra and a choir, with all the instruments notated, simply by ear (especially since he does these reductions all the time on his channel). At least I would be amazed if someone could do that :)
@@vlada131 the reason I ask is that I can't find it for sale anywhere 😊 Hal Leonard have have a concert version of the Raiders march, but not complete scores for cues like this. I've transcribed some orchestral pieces like this (e.g. Flying theme from ET), akd learned a lot, but hard to catch all the detailes in the full mix 😋 If it's not transcribed, I would be very interested to know where I could get my hands on the score as transcribing full orchestral pieces takes a looong time 😅 And the reel/sceen marks (e.g. 6m2) one can usually find online on forums/websites and put in yourself when transcribing
Hi David.Great and hard work.I watched it a few times. Did you do score reduction from the original score? It's interesting. We can know how rhythm changes with each view. Great John williams has said in an interview that "Music is a sense of rhythm"
Wonderful music analysis. I'm a beginner, but I'm trying to emulate it in my DAW (Logic). Can anyone tell what A.R.P. means? And how do I spread between different instruments in chords (like flutes and oboes at the beginning or woodwinds in measure 7)? Probably there'e a long answer, but any guidance is welcome. Thanks in advance.
Bit late, but... An ARP synthesizer is doubling the basses in unison, playing some bass patch. Most likely it's an ARP 2500. Don't worry *too* much - that's not more essential than Williams' live performances and official live concerts leave the ARP (and Fender Rhodes, replaced with piano) out. The ARP is just adding some additional "oomph" to the basses. The celli double the basses (and ARP) an octave above. The woodwinds are a long answer, yes. The chords, even longer (the reduction doesn't specify everything unambiguously - that's not really its purpose 🙂). The basics (from the actual orchestration): The three flutes play each of the chord notes. Same for the three clarinets. Two oboes play the top two notes, while English horn plays the lowest note - note, however: the oboe family *only* play the second and third notes (the 1/4 notes) in the first and second bar. And don't play in bars 3 and 4. Then return in 5 and 6. (But that's already notated in McCaulley's analysis as +/- Oboe/E.H). At measure 7, the top three notes are still the flutes. The middle three are the clarinets. The bottom three are (3 of the 4) horns, with 1 bassoon doubling the lowest horn. For the last G5 chord, the bottom note of each group is simply overlapping the top note of the group below it. That's, of course, not all of it. Message me if you're still working on this, and I can go into a bit more detail. 🙂 The analysis is also missing chimes playing in the opening bars: C4 | C4 | C5 | Bb4 Ab4 | C4 | C4 | C5 | G4
Question: Would you think it would be legal to use this score for personal piano videos? (Just asking because I am thinking of just copying straight from the sheets).
Great idea, but you should've taken off the effects and the dialogue tracks and use the music from the CD, that way the effects wouldn't bother the music at the moment Indy finds the Map Room. And please make more videos like this.
It sucks because studios actively tell the musicians and composers not to make music that will intrude on the scene, why the fuck they do this is beyond me but as a consequence most film music now is just generic to act as nothing more than background as opposed to something like this which is actively carrying the whole scene.
![Raiders Of The Lost Ark Soundtrack - The Map Room / Dawn [400% Slower]](http://i.ytimg.com/vi/ugdnvpAneH4/mqdefault.jpg)
John Williams was robbed of an Oscar for this score.
zoltan902 you put too much emphasis on the Oscars. They don’t matter nor does it belittle the work of the maestro. Oscars don’t mean shit. It’s just a publicity thing so they can say “Academy Award winner” in trailers. Nothing more
The Oscars.............................chose poorly that year.
Of all John Williams' scores, this ones is the most 'Bernstein-ian' I would say. The Ark Theme in particular has something biblical about it
Agreed I would also argue he was robbed with ESB
The Ark theme is one of the most amazing theme in movie soundtracks. Relatively simple, but simultaneously conveying mystery, antiquity, power, beauty, and danger.
John Williams is the most imaginative and creative composer of all time
Brilliant work again, and again I repeat, this score should have won the Oscar, by miles.
Eh, it was still the super-early 80s. Everybody was trying to keep the 70s prestige film going and nobody realized that the art was back in the genre film again. Seriously: look at the Big ticket Oscar winners from 1980-1983. Does anybody watch them anymore? Have you even seen them?
I know I haven't.
I agree. But, maybe, Vangelis maje some extra work for be considered as the best that year. Maybe it took some millions to do it
@@Theomite I said the score should have won the Oscar, not the film. And just because you haven't watched anything from that era, doesn't speak for everyone.
I'm sorry, if this music doesn't give you chills, you don't have a soul. Works fantastic in the scene. I think this theme some Herrmannesque vibe to it, doesn't it? Great analysis, as always.
This version yes, but more with the Miracle of the Ark's Version...That sends a shiver down my back!!!
@@marionbaggins that's an amazing cue too, too bad they cut some part out in the movie. Both pieces are great though, and the ark theme is definitely my favorite artefact theme from all IJ movies.
@@wojtekwieczorek6397 Yeah, they were so great...The Ark Theme out of *now 5* all of them, is still the Best Artefact Theme!!!
my favourite piece of JW's music ever...and boy is it hard to pick a favourite!
When the choir comes in at 2:26, I get chills, and it only gets better from there. So intense! I think the only JW that's more intense for me is "Burning Homestead" from the original Star Wars. It's like getting dragged through an emotional wringer.
A melody made up almost entirely of minor chords . . . .brilliant, as usual. And a magnificent transcription. Great job
One of the greatest pieces of film composition ever
Fantastic analysis. Having been involved in music all my life, I recognize much of what you are saying, but I don't have the depth of knowledge you have to show it so masterfully. Thank you for this! I was just pointing out this is one of my favorite parts of the movie, and there's hardly any dialogue. The music tells the story of what is going on so well, that you don't need any dialogue, and your analysis shows exactly how.
One of the best cues ever. Thanks so much.
what an orchestra Williams had at his disposal too the LSO
Beautiful presentation of the score , best i've seen ! wonderful
Anyone In Church: *Talks about the Ark of the Covenant*
Me: *(And Inside my Head) Starts Singing It*
One of the finest moments among all film scores!
If you look at all the Williams scores you realize one reoccurring harmonic pattern: sequences of unrelated minor chords. He does it all the time
Well, fuck, if it WORKS...
Yeah that's called planing. en.wikipedia.org/wiki/Parallel_harmony
Well, I wouldn't exactly call them unrelated :-) Cm and F#m are both from the octatonic scales which have minor chords spaced minor thirds appart (so Cm and F#m a tritone (two minor thirds) appart in this octatonic half-whole from the C-note), and gives a very specific sound that JW use all the time. In the continuation of the melody he plays Abm to Ebm which both are in the Eb natural minor, then another octatonic relationship between Gm, Bbm and Dbm, all three in the same octatonic scale (half-whole from Db), and the Dbm being a whole step above the Cm leads down to the Cm again ready for another round :-) Not traditional functonal harmony for sure, but still a pattern that can be descerned by our ears somehow as this sounds so great!
@@NikolaiMusicChannel Hey, I think when they said "unrelated minor chords" they meant in the context of conventional tonal harmony. Hope this helps
@@ethanhayward9624 Yes, maybe non-diatonic is what they ment 😊
Absolutely wonderful its amazing to see the scores presented this way. Ever consider doing the scores of Basil Polidoruis Conan the Barbarian? I have copies and would love to see them broken down into the format you are doing. let me know and I will send them to you plus any other score from a vast collection I have As I would love to see many modern Film scores presented in this way that you have. Many thanks again to you for this ....The Williams map room is my absolute favorite It Grabbed my attention seeing the film for the first time as a teenager.....changed my direction into studying music. and influenced my love of many fields of study and interests.
Basil Poledouris.
Had he composed the score to Serpico, starring Al Pacino?
I just reseached it: Mikis Theodorakis. I loved the song "Beyond Tomorrow"
"Beyond Tomorrow," Mikis Theodorakis
I love this scene and the score is so awsome.
David you are the greatest! I love all of your videos. Never stop doing what you do.
WONDERFUL WORK AS ALWAYS MY FRIEND!
BRAVO!!!!
I said it before and I'll say it again these are the best videos on TH-cam
Excellent transcription! I learned a lot from this. Thank you for sharing.
Amazing work. You got a new sub!
Thanks a lot for doing this! I've been hoping to find detailed sheet music of this piece!
It shows an obvious influence from Bernard Hermann ' film scores but that isn't a bad thing.
Great reduction :-) Did you transcribe this or is the full score available for purchase somewhere? Just noted one thing, that the string runs over Cm and F#m are notated as harmonic minor runs, which surprises me as Cm and F#m are both from the same octatonic scale, and would have thought the runs where in the corresponding octatonic scale rather than changing to harmonic minor over them.
He definitely has a full score. Note that at the very start of the video it says "6m2..." That's how the cues are usually notated in movie scores. I've seen several of them, they all have this.
Also, I think there's no way he could have transcribed a full orchestra and a choir, with all the instruments notated, simply by ear (especially since he does these reductions all the time on his channel). At least I would be amazed if someone could do that :)
@@vlada131 the reason I ask is that I can't find it for sale anywhere 😊 Hal Leonard have have a concert version of the Raiders march, but not complete scores for cues like this. I've transcribed some orchestral pieces like this (e.g. Flying theme from ET), akd learned a lot, but hard to catch all the detailes in the full mix 😋 If it's not transcribed, I would be very interested to know where I could get my hands on the score as transcribing full orchestral pieces takes a looong time 😅 And the reel/sceen marks (e.g. 6m2) one can usually find online on forums/websites and put in yourself when transcribing
Hi David.Great and hard work.I watched it a few times.
Did you do score reduction from the original score?
It's interesting. We can know how rhythm changes with each view. Great John williams has said in an interview that "Music is a sense of rhythm"
Brilliant score and movie. They don't make em like that anymore.
Bravo 👏
Thank you!!!!
YOU REALLY need to do Crusaders, the music in that movie is AMAZING!!
Wonderful music analysis. I'm a beginner, but I'm trying to emulate it in my DAW (Logic). Can anyone tell what A.R.P. means? And how do I spread between different instruments in chords (like flutes and oboes at the beginning or woodwinds in measure 7)? Probably there'e a long answer, but any guidance is welcome. Thanks in advance.
Bit late, but... An ARP synthesizer is doubling the basses in unison, playing some bass patch. Most likely it's an ARP 2500. Don't worry *too* much - that's not more essential than Williams' live performances and official live concerts leave the ARP (and Fender Rhodes, replaced with piano) out. The ARP is just adding some additional "oomph" to the basses. The celli double the basses (and ARP) an octave above. The woodwinds are a long answer, yes. The chords, even longer (the reduction doesn't specify everything unambiguously - that's not really its purpose 🙂). The basics (from the actual orchestration): The three flutes play each of the chord notes. Same for the three clarinets. Two oboes play the top two notes, while English horn plays the lowest note - note, however: the oboe family *only* play the second and third notes (the 1/4 notes) in the first and second bar. And don't play in bars 3 and 4. Then return in 5 and 6. (But that's already notated in McCaulley's analysis as +/- Oboe/E.H). At measure 7, the top three notes are still the flutes. The middle three are the clarinets. The bottom three are (3 of the 4) horns, with 1 bassoon doubling the lowest horn. For the last G5 chord, the bottom note of each group is simply overlapping the top note of the group below it. That's, of course, not all of it. Message me if you're still working on this, and I can go into a bit more detail. 🙂 The analysis is also missing chimes playing in the opening bars: C4 | C4 | C5 | Bb4 Ab4 | C4 | C4 | C5 | G4
Amazing work as usual! Would you consider sharing your reductions in pdf? Would be terrific help for those (like myself) who are struggling to learn!
Puccini, La Fanciulla del West, end of 2nd act 👍🏻
Fantastic score. Where can you get the full score notation for this song ? I looked but only found a few from the Indi films but not this one.
Question: Would you think it would be legal to use this score for personal piano videos? (Just asking because I am thinking of just copying straight from the sheets).
From what I've seen, personal use is perfectly fine, but publishing it in some way online is a much different story. But I'm not a lawyer... ;)
You note several places "ARP" and somtimes "ARP (Cimb)" what does it mean (is ARP the ARP synthesizer ?)
Yes, I believe it is some type of synth.
Thanks Dave, I think it might be used to create an even deeper sub bass under the double basses
Did you have the original full score sheet or did you do it all by ear ?
Great idea, but you should've taken off the effects and the dialogue tracks and use the music from the CD, that way the effects wouldn't bother the music at the moment Indy finds the Map Room. And please make more videos like this.
Film music today sucks.
It sucks because studios actively tell the musicians and composers not to make music that will intrude on the scene, why the fuck they do this is beyond me but as a consequence most film music now is just generic to act as nothing more than background as opposed to something like this which is actively carrying the whole scene.
Writing was a bit small, it was only halfway through the video I realised you were making notes on the music...
Great channel, your video would be much better and useful if you add a cursor to them.