The Indiana Jones Theme - Simple But Perfect
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- เผยแพร่เมื่อ 30 มิ.ย. 2024
- Everyone knows the Indiana Jones theme music composed by John Williams for Raiders of the Lost Ark, but most people don't know what makes it so perfect for the character... by being imperfect. Doctor Emilio Audissino's analysis of the Indiana Jones theme from his book "John Williams's Film Music" shows how this works.
#indianajones #johnwilliams #raidersofthelostark
Chapters:
0:00 - 0:26 Raiders of the Lost Ark
0:27 - 1:25 John Williams's Film Music (Emilio Audissino)
1:26 - 4:26 The Indiana Jones Theme (Indy I)
4:27 - 7:04 The Indiana Jones Theme (Indy II)
7:05 - 8:03 Gradual Disclosure of the Main Theme
Sources:
John Williams’s Film Music, Emilio Audissino: www.amazon.com/John-Williamss...
Raiders of the Lost Ark Scoring Session: • John Williams Scoring ...
Raiders March Analysis (Brad Frey): • "Raiders March" - Raid...
I don't own the rights to Indiana Jones. All belongs to LucasFilm/Disney. No copyright infringement intended. - เพลง
Note: I think some people are taking this more literally than it’s meant. This isn’t a “the blue curtains represent depression” scenario. This is Dr. Audissino’s method of explaining why those highs and lows eventually lead to a victorious, satisfying ending. Nothing more. Not mentioned in the video, he also directly compares it to the Star Wars theme, which doesn't hold the low notes for long and jumps way up immediately after, sounding outright heroic. There is nothing to triumph over.
I’m a little late to the Indiana Jones video trend, but I’ve already done my research and have plenty to say about the scores and the movies.
What do you think of Dr. Audissino’s analysis? And what do you think of Steven Spielberg’s whistling?
lol the whistling really caught my attention too!
Same with the copyright bot.
Great video. I'm not a musicologist so maybe I'm talking nonsense, but it seems to me that the rise and fall pattern can be found in a lot of other main themes by John Williams (E.T., Superman, Hook, Tintin). Not as bluntly as in Indiana Jones maybe? I certainly remember an interview where he explains Star Wars main theme as the fall and rise of Luke Skywalker. I'll be waiting for your video on Marion's theme. I don't know if it's where you want to go, but I would be interested to hear you compare it to Leia's theme from A New Hope and the Love Theme from The Empire Strikes Back. Are you going to make more about Indiana Jones' themes like the Ark, the Grail, etc.?
Thanks! Yes, there is a rise and fall pattern to a lot of music. It’s not always conveying an attempt, retreat, second attempt, success, etc. like here. With E.T. (have you seen my analysis video about it?) it’s a flying theme so it’s always climbing higher before dropping a few notes and then climbing higher than before.
And yes, I do plan on referencing both Leia’s Theme and Han Solo and the Princess in the Marion’s Theme video. I know they’re compared to each other frequently and sometimes confused with each other.
And I’d also like to do more Indiana Jones videos, musically they’re a goldmine to pull from.
@@FilmScoreandMore Thanks, I'll make sure to watch your other videos!
Why didn't they teach music this way at school?
They probably know more about music theory than I do and kept to the technical aspects. And I just got to quote a book I’ve read!
What’s changed? How do you think this is different?
@@FilmScoreandMore It's been 40 years since I learned music at school, so it's probably already changed a lot. When I did it, the theory was good, but not so much relating how the structure of the composition relates to storytelling. Doing it with movie music (where the story s obvious) works better, as a starting point, than with purely orchestral music.
I’m sure having a story to follow or convey helps tremendously.
This analysis seems more like a music appreciation subject which, unfortunately most schools don't teach until college. Music composition on the other hand is difficult to teach and requires years of music theory knowledge
This is why I've never understood anyone who sees Indiana Jones as a "macho action hero" in the same sense as other 80's "action heroes". He's CONSTANTLY making mistakes; CONSTANTLY running away; CONSTANTLY having to have other people rescue him; CONSTANTLY having other people remind him of what's important; he's neurotic, with phobias, has daddy issues, he's constantly outwitted by villains - and there's literally only been *ONE* Indy movie in the ENTIRE series where he "fights the bad guy in the end" ("Temple of Doom"). In "Raiders', he's captured and tied up in the finale; in "Crusade", he's captured AGAIN and the villain only dies by his own hand; In "Skull", the villain undoes themselves, once again - and the SAME thing happens in "Dial", with the villain ONCE AGAIN, undone by themselves. Indy's vulnerable, emotional and a big softy and always has been. And that's what makes him such a great character - because when he succeeds in anything, it's USUALLY by accident. Anyone who watches Indiana Jones movies and considers him a traditional "macho action hero guy" just hasn't been paying attention. Which isn't to say he ALSO doesn't fight - but even in his fights, he usually BARELY escapes with his life. He was LOSING the fight the German Mechanic in "Raiders" until SHEER LUCK happened with the propeller's timing, etc. So I just find it laughable when I see some "fans" today who've apparently never paid attention to the movies, who view him as some "ideal of masculine macho hero", when he's always been the EXACT OPPOSITE. Always. And that's what makes him FAR more interesting than others.
Exactly! It’s probably just gotten lost in translation over time with the mythic status of the character and the franchise. Indiana Jones is huge, and he’s still presented seriously much of the time. Like in the opening scene of Raiders. You just have to watch the whole scene to get the whole picture.
Right, it’s because this makes him more human. And so he’s more relatable. Good observation
Absolutely. We like to root for the human ones who get beaten down but keep getting back up.
It's kind of a more realistic hero, another example comes to my mind, John McClane from Die Hard.
Another (main?) reason why he's not a hero is that the final outcome would have been exactly the same if he hadn't interfered to begin with ...
Marion's theme though is the one that I find even more amazing. It will make you close your eyes to listen to it.. and feel it, and that I did, attending a Boston Pops concert with John Williams conducting back in the 90s. It was amazing to hear it live from the man and his orchestra themselves.
It's really special and a great tonal contrast to Indy's Theme, especially in Raiders March.
I'm editing the video about it now!
Thanks for putting to words what I always "felt" about this iconic tune!
Thank Audissino!
LOL! Imagine if porn music composers put this much genius into their work, the anticipation and the reward.
I wouldn’t have thought of that.
I just rewatched this movie for the first time in several years, now much more knowledgeable and aware of music and film music specifically and the soundtrack absolutely blew me away. I’ve always loved the main theme but I never realizes just how much depth there is to this entire soundtrack. John Williams really is the master of film music.
I know exactly what you mean. The sections of the book about "Gradual Disclosure of the Main Theme" blew me away, because everyone knows John Williams' themes too well to notice that they're incomplete and still building to something 90% of the time. You have to step back like this to appreciate it all.
Also for me, I was born well after this trilogy was over, so I basically grew up knowing the entire theme. I can’t remember a time watching the movies when I didn’t already know the whole theme, so I never really noticed things like the theme first showing up when he’s running away, because I already knew the music.
Exactly. That's what I was hoping to do with this video, to show how much we take the theme for granted and to highlight what you'd overlook at this point. I have similar plans with the Marion's Theme video.
@@FilmScoreandMore I can’t wait to see it!
Thanks! I look forward to having it done; it’s proving more difficult than this one!
I think it's amazing how a few notes in a melody in ascending and descending movement can build an iconic character's theme. Your videos help me understand music theory better, thank you
I think you’re right. And it’s so easy to miss.
If you take the main Star Wars theme, and bring the high note down an octave each time, it’s basically a 5-finger scale repeating down for like, 3 times in a row. 😅
I just love these movies so much. Thank you for putting into words why I love Indy so much.
That’s right! He’s very fallible, he loses faith in himself at so many points, he hits the bottom so many times, but the thing that makes him win in the end is that he keeps going and gets back on his feet! I also do love how often he fails, how many times he does lose during a movie, and how all of those defeats are lessons and how he uses those lessons to eventually win.
God, I’m so gonna rewatch Raiders now.
Absolutely! It’s what really makes him great.
Spielberg has a strong whistle game
He’s also a clarinetist. John Williams says it’s not that he’s especially good but that he plays with such feeling.
@@FilmScoreandMore quality facts 👌
You missed the fact that the motif of the first four notes of the melody are in the spoken rhythm of his name “Indiana”, which was a common way that composers related music to the movie title.
That’s true, but I can’t help but wonder how coincidental it is.
The first movie doesn't have Indiana in the title, though. It's Raiders.
Yes, but it’s still the character’s name. Williams’ Superman theme is famous for seemingly shouting the name “Sup-er-man!” You can sing the name to the melody.
Born in ‘72, I’ve always felt that I was the perfect age to absorb and grow with Williams’s scores, from the wide-eyed five-year-old watching Star Wars to the nine-year-old with Raiders, and beyond. For my generation, being raised on such complex and gorgeous scoring was unbeknownst to us incredibly formative. As others have commented, we instinctively felt all that you’ve explored here. It’s great to hear it broken down so well.
I have yet to check out the rest of your channel. I hope there’s a similar piece on Superman. One of my favorite things to do as a kid was swing in my backyard after sundown and sing John Williams music, and the sections of the Superman theme blew me away every time I sang them - how did he create these, how do they relate to each other? Which do I like better, the A theme or B theme? Of course, I wasn’t asking myself in those terms but the intent was the same.
I think this is a big part of why modern film scores are mostly disappointing. I find myself waiting single phrases. I celebrate composers like Christophe Beck who at least attempt to keep a bit of leitmotif alive.
As a grand project, I’d love to see a composer rescore the entire MCU. Recurring elements exist, and some have played with this in the Endgame Portals scene, but I’m taking about treating the full thing as a single musical suite. :-)
How lucky you were to go through all of those awesome movies and scores being released! I was born in 86. My childhood was also filled with these movies, but I had most of them available to me all at once on VHS tapes haha
Sounds like you really were the perfect age, it’s nice to hear about it! I’m younger, but many Williams scores were still just as formative.
Superman has been recommended a few times, I’ll definitely have to look into it. If you do look into more of my channel you’ll find it’s main focus is John Powell’s How To Train Your Dragon scores, which are extremely thematic and use sounds from all over the world. The video directly comparing Powell’s work with John Williams’ E.T. score is a great start. And yes, Christophe Beck continues to impress.
Re-scoring an entire series is a tall order, but there are a lot of hobbyists and aspiring composers who give themselves tough projects. Maybe there’s something like that out there.
The great thing is we still got to experience them young even if we weren’t there for the release.
A simply genius breakdown of one of the best (and my favorite) movie themes of all time.
It’s so simple, but it becomes obvious when you look at it.
Well explained. Williams is truly brilliant. As an organist I’ve accompanied silent films, and it’s hard to keep tension going for such a long period of time. I followed Williams’ lead by composing multiple themes for different characters and situations. Thank you for your succinct analysis.
You’re welcome, and thank you. Williams does a fantastic job of following the story and characters with music. For example, I’m working on my video about Marion’s Theme which really isn’t “Marion’s” Theme.
Do you play organ for any Williams scores? The Aliens’ Theme in E.T., for example?
What a great video. Thanks a lot for putting this together; it really makes you appreciate the theme so much more. And this video, more than anything else, makes me want to sit down and watch these movies once and for all. Maybe I will.
Thank you. I’m sure you’ve seen worse movies.
Definitely give the original trilogy a watch if you haven’t already!
I second this!
Awesome job. We want more!
Thank you, I appreciate the support.
so insightful! call and response, reach and reaching. never noticed those details. makes williams a master! great video
It seems so obvious when you think about it! I was really surprised when I first read it.
Wow i knew the score was special but couldnt articulate why snd this video put my feelings into words. Great job dude. Super well edited, and laid out so music dummies like me can get it. Makes me appreciate the score more.
Thanks, that’s exactly what I was hoping for!
This was very well done. I learned a lot, thanks
Thanks, I’m glad. I’m editing the video about Marion’s Theme.
Brilliant! Thanks. Can’t wait for the Marion video
Thanks, I’m working on it!
I love your approach to these! I have that book as well but haven't had a chance to read it yet
You should read it! Chapters 9 and 10 are on Raiders.
When I saw the first Indiana Jones movie and heard the main theme, I immediately thought of a song I had learned in elementary school entitled "Happiness Is." It was written in 1966 by Paul Evans and Paul Parnes and was recorded that year by the Ray Conniff Singers on an album of the same name. It was later modified as an advertising jingle for Kent cigarettes.
The first 3/4 of both "Happiness Is" and the Indy Theme are virtually identical. Thinking that Williams was knowingly quoting that song, it made perfect sense to me, since the lyrics talk about how different things make different types of people happy, e.g., Indy Jones finds happiness in going on these crazy expeditions and having wild adventures.
Yet nowhere have I ever read of anyone else in films or music making that connection. I'm a musician and I know how music works; I know that it's quite possible for a melody you might have heard years ago to hibernate in one's unconscious and then to have it pop up when you need it. I would love to know if JW has that Conniff album in his collection! 🙂
One or two other people made the same connection in other comments. I think it’s very possible that Williams heard the catchy jingle and accidentally replicated it. I’m sure if it directly inspired him he’d have mentioned it somewhere. The only thing is, I don’t know how far we can look into it. This speculation might be the farthest we can take it.
@@FilmScoreandMore Thanks for the reply! I guess the ultimate deep dive would be to ask Mr. Williams himself. Do you have his number? 🙂
@@jpsned I must have lost it.
@@FilmScoreandMore 😄
Deserve thousands of more subs, good job
Thank you! It took a week and a half, but this one is getting much more attention than normal. I’m seeing some good signs.
Great analysis…thank you!
Thank you!
I've always thought it was interesting that the most heroic part of the Raiders March was during Indy's strange stumble on the U-boat, but I never thought about it being a kind of purposeful witholding for maximum effect. This was an excellent analysis!
John Williams knows what he’s doing with thematic development! And thank you!
Amazing content, my friend!
Thank you!
Great content. Please do more!
Thanks, I’m working on it!
subbed! Fantastic explanations
Thanks! Let me know what you think of my other videos.
Best most recognisable movie theme ever good video!
Thanks!
Is this one of the best analysis of Raider's March I've seen? I think it is, I like how he applies the rise and fall patterns even though it's very common in music, but highlighting the hero's flaws and when he achieves his goal is what makes Indy such a realistic and relatable hero, and I liked the part where you explain how Williams uses "Indy 2" in the scenes where he's overtaking the truck, which is one of my favorite parts of the movie and the score. John Williams is probably the last romantic composer in Hollywood, the last succesor of a traditional romantic composing style that came from Korngold and Max Steiner, influenced by composers like Wagner, Bruckner, Mahler and Richard Strauss (I love these composers because of these reasons, late romantic and some of 20th century classical music are like film scores that set up my imagination), that's why his songs and his style is so memorable and accessible, thank you for this.
Also, do you know the music youtube channel "Inside the Score"? it's one ofmy favorites, I think you are his "film music version", although he analyzed some film scores including Star Wars.
Yes, it’s all about how the theme builds into that satisfying victory and how it’s not overused. The book spends a lot of time explaining the history of Hollywood film music and Williams’ early years as a composer. I’m sure you’d enjoy it. This video only references brief parts from chapters 9 and 10.
Yes, I’ve watched many Inside The Score videos. I just saw his new one on organs the other day. If you’re interested in score analysis you’ll definitely like my channel. Up to this point I’ve mainly covered the How To Train Your Dragon scores, which other channels like Inside The Score have touched on, but there’s a lot they’ve missed. I compared the main theme to the E.T. Theme in this video:
th-cam.com/video/hBWhQxznEQA/w-d-xo.html
Interesting. You're making me understand how exactly a movie score tells the story in its own way and reinforces what you see. It's a great psychological trick, and a very effective one.
That’s what a great film composer does. Have you seen my followup video on Marion’s Theme?
@@FilmScoreandMore It's on my playlist like most your videos after I saw this one.
@Andysmusicaljourney Good to know, thanks. Let me what you think.
Great video!
Thanks, it’s always good to see you stopping by!
Well done!
Thanks!
Never thought of it like that before. Subscribed
Thanks! Have you seen any of my other videos?
@@FilmScoreandMore haven’t had a chance to yet but I definitely will
Thanks, let me know what you think.
Freaking incredible breakdown. Great job, man.
Thanks, I’m glad to see you here!
@@FilmScoreandMore Glad to be here
A lot of people complained about Indy being too much of a "failure" in Dial of Destiny, but I think it is perfectly in line with what had been set up for the character and what is reflected in his theme. Bad stuff happens to him, he makes mistakes, but in the end, he figures it out. It might not be a textbook happy ending, but he'll find a way out, and that's the fun of it. I definitely think Dial of Destiny was missing something from not having Steven Spielberg directing it, but I still think it felt very much in that Indy mode, and having John Williams return to compose the score helped it get more than halfway there.
I still haven’t seen it, but I’ve definitely heard this complaint and I do think it’s important for him to try and fail before succeeding. I think that’s a difficult balance to find.
Spielberg not returning has kept me skeptical, but I’m glad we got another Williams score out of it. He knows what to do.
By the way, what is your profile picture? It looks familiar.
@@FilmScoreandMore Thank you for replying; I hope you enjoy it when you watch it. Williams does wonderful work as always.
My profile picture is of the DC character Red Hood; specifically a custom action figure I made of him.
I hope I enjoy it too. I’m hearing incredibly mixed things and I really have no idea what I’d think.
Yes, I thought your profile picture was something like that. Good work, I don’t know if I could do that.
@@FilmScoreandMore Thank you for the compliment! I know I definitely couldn't make the amazing film music video essays that you do!
@@JeddtheJedi Thank you, I guess it's just a different skill. I still have to work at it quite a lot.
I'm sure the book must discuss this, but the use of harmony under the theme is crucial to how the theme is perceived affectively. The F4, the highest pitch in Indy I, is the third of the Db major triad, a half step up from where the harmony had just been. So this move has a HECK of a lot to do with the feeling of "tension", not to mention the lower F being harmonized briefly against a C triad, crunching the major third and the fourth.
The book does go into much greater detail about the technicalities. I almost put more in but I decided to stick with the simplicities and not overcrowd the screen too much with every one of Audissino’s footnotes, which are still valuable.
@@FilmScoreandMore Understood. You keep the video to a watchable length as well. Well done all around! I remember as an undergraduate music major, theory professors extolling the primacy of the melody. I remained unconvinced, maintaining that the manner in which the melody was harmonized was at least as important, as say, the relationship of memorable intervals in the melody. So I wrote a melody completely in the key of C that never strayed beyond an octave, but harmonized it rather chromatically. I convinced my 18 year old self, at least, that I was correct. Lol.
Thank you, the video length is important.
I know the chords and harmony can still be very influential in the effect and perception of the music.
@@dougmattingly yes, thank you for noticing this and pointing it out. the harmonies a composer puts against the melody are as important as the notes of the melody and are often responsible for subtle changes of emotion. i think that often goes overlooked because we obviously can't sing or hum the harmonies on our own, so we unintentionally credit the melody for doing all the work. that d-flat chord you mentioned is a a great example. i think audiences in general are also incapable of articulating why a piece of music works.
Yes, absolutely. Harmony does a lot of the work but gets less attention.
To this day think my most amazing concert experience ever is getting to see John Williams conduct with the Louisville Orchestra while they did the Superman theme
That must be quite an experience! I’ve never seen John Williams in person, but I’ve been to several concerts with his music. I heard Superman at one just recently. The best were watching E.T. and Harry Potter in concert. I want to see Raiders the same way.
you can't perfect something that is already perfect
Absolutely.
It is interesting to me that the sub scene, which is shot so simply, with basic action, no CGI, and the perfect use of the theme can invoke more emotion in me than I could find watching 100 modern movies.
That's Spielberg and Williams for you.
Williams isn’t influenced really by Steiner or earlier film composers. He’s influenced by the source. The guys from Wagner onwards, and more contemporary composers like Stravinsky and Bartok. To a large extent his experience as a jazz musician playing sessions with Henry Mancini in the 50s also had a lot of influence on him. Williams has a complex and very studied sense of harmony. All the quartal, large intervallic and serialistic stuff is there but he also has a keen ear for melody. Ya know, another composer who always kind of reminded me of John but in a completely different idiom is Wayne Shorter. Brilliant complex chord progressions with catchy melodies. I remember while I was studying at Berklee College of Music, one of my teachers Greg Hopkins, remarked that the Asteroid Field sounded like it could be a Wayne Tune.
I think both are true to an extent. Obviously Williams has an incredible talent and refined compositional skill. The book directly cites many influences on the series (seemingly both for the films and the scores), but it also goes into detail about his earlier years as a composer working with fast-paced TV schedules. His jazz music is also another important part of his background like you mentioned (which I covered in my Catch Me If You Can video).
He’s also said the challenge of the Raiders score was not doing just a pastiche score, but making it an authentic score in the styles of those adventure serials. Doing the real thing.
It’s interesting that you mention him working with Mancini whereas the book has a whole chapter devoted to contrasting their scores in the 1960’s, highlighting Mancini’s tendency to use more modern techniques and Williams being more old-fashioned. Obviously I’m not arguing with you, I’m just comparing with what I’ve read.
Another comment said it best. You were able to put into words something I “felt” but didn’t know how to verbalize myself. First time I saw this movie the main theme and it’s different variations were among the first things to stand out to me. Very nicely made video. I’m happy that there are creators on TH-cam who have the ability to deconstruct great music for the rest of us who aren’t as musically literate.
A bit of a tangent, but I feel a similar way to the first 20 or so intro/opening themes to Survivor. I think they’re amazingly composed, but I don’t know how to properly communicate that in a way that would make sense to others. I know it’s not from film, but just mentioning it to put it on your radar.
Thank you. Obviously, much credit goes to Audissino for his analysis, his terms like “Gradual Disclosure of the Main Theme,” and his scene-by-scene breakdown of the score. I basically took a very small part of it and simplified it; this is his analysis with a lot of the technicalities removed, and I’m not even musically proficient enough to understand a lot of them anyway. But I understand how scoring works on a less technical level, and that’s something I can bring here.
I think I know what you mean about Survivor. I’m glad you’re still able to appreciate it and articulate it this much.
It’s interesting that both the Indiana Jones theme and the Superman march have a similar structure. Both introduce a fanfare idea that is almost so cliched as to be childish, and then hit you with a crunchy cluster voicing where you would expect a cadence. Another composer that used the same trick is Aaron Copland. And, like Williams, he gets criticized for being too sentimental and populistic when he was really a very modern orchestrator. Injecting hummable themes with complex chords is what makes both composers great.
Well said.
Nobody gonna mention how Audissino is the greatest name for a music analyst ever
It’s a musical name, isn’t it?
Really looking forward to the comparison between 'Marion's Theme' and 'Han Solo and the Princess.' I listen to about 10 days of John Williams per year according to Spotify, so I've come to notice similarities in a lot of his work. More so than perhaps your average moviegoer.
I’m glad to hear it! That’s a lot of John Williams, but there’s so much to choose from.
Did anyone else keep expecting the music in the background at the beginning if the video to continue
What do you mean? You expected the background music to continue? Or the example I showed right at the start?
This was awesome! When will the vid of Marion’s theme be released?
Thanks! I’m still working on it. I made some thumbnails for it today and will fix up the writing tomorrow. You know where to find it when it’s done, and I’ll probably post some updates on my community tab.
@@FilmScoreandMore sound great! Already subbed with notifications!
Great, thanks! By the way, what brought you to the video? How did you find it?
@@FilmScoreandMorebig fan of the Ark theme, btw.
@@countluke2334 It's incredible how simple but dynamic the Ark Theme is.
It's also perfect because it 'accompanies' the name of the character and his profession. You can sing along with the melody: "Indiana, Doctor Jones, Indiana, ARCH-E-OL-O-GY" It gave him the number of notes needed for that melody. Perfect leitmotif. Did the same with Superman and the binary motion of Jaw's tale. The Pe-ter theme in Pan too. Din-o-saur for Jurassic Park etc. It's an additional fun element to how he constructs his themes and melodies.
I’ve never heard that exact phrasing of it before! I’ve always heard it with the tag line: “If adventure, has a name, then it must be, In-di-an-a Jones.”
@@FilmScoreandMore I'd never heard that line either. Interesting. I noticed it with Superman first and he has spoken of how he uses that to help him find the note count for the theme or motif and give him some limits. It's a fascinating part of the process, even before you get to an actual hummable melody every time. Possibly also why they're each so memorable
It’s always fun when you can wrap the theme around the words, or vice versa. There are multiple Spider-Man themes from various composers that do that.
He said that the Jurassic Park theme, he took out the first syllable, said just "Rassic park, rassic park, rassic park, Juras-sic paaaark..." was more powerful.
A starting point is not an ending point - he's also said the E.T. theme started as "E.T. the Extra-terrestrial" but he changed the rhythm once he had those eight notes.
Oscar Schindler, Oscar Schindler, Oscar Schindler's List
Look, up in the sky, Superman, look up in the sky - Superman!
Do you have an interview where he directly says that? I’ve heard people make lyrics out of the themes before, but I’ve never seen where said it was intentional. And if it’s true I’d love to see it.
Also, let’s not forget:
“Star Wars,
It’s a movie called
Star Wars!”
Very, very interesting. But where is your video on Marion's theme?
It’s in the works! Turns out it’s a little less straightforward than this one and this harder to write.
Sure, Williams could have thought of that beginning himself. But I’ve always thought that he “borrowed” it from the “To a Smoker It’s a Kent” TV commercial and changed the key 😊
I’ll have to look into that. And hey, sometimes things stick to you subconsciously and show up at odd times.
1:09: For Me, The Raiders March is Happy and Cheerful Like The Star Wars Theme Instead of Heroic
It’s adventurous!
Great job with the video analysis and the score examples! I just had a few nitpicks with the notation. I'm not sure if it's your notation or is just picked straight from Dr Audissino's book, but either way it has a few issues.
At 0:00 the second measure is more legible if it's two quavers (eighth notes) with the second quaver tied to a minim (half note) rather than a quaver followed by a dotted crotchet tied to a crotchet. This is how I've seen it notated in band scores and other transcriptions. And it makes sense, because you can see the beat division more easily.
At 2:45, those "two sixteenth notes with a rest in between" is very hard to read. It would more likely be a dotted quaver followed by a semiquaver (with some staccato articulation), and I'd say it would be the same for the rhythm in beats 2 and 4 of the second measure. But even if it were with the two semiquavers, the rest in the middle would need to be two semiquaver rests as you need to keep the beat/pulse segregated (to show the end of one quaver pulse and the beginning of the next quaver pulse).
Hey, thanks for your input. Some of this is taken directly from the book as notated, but the rest is actually taken straight from the written score. You can see the entirety of Raiders March notated in one of my sources in the description, which is also based off the written score.
I’m guessing music isn’t notated the same way universally. It’s interesting to know it could be different.
Interesting! You're right, music can be notated differently.
@@davo_v And then there's the debate of constantly using triplets or just setting the time signature in 12/8 with a different tempo. Same effect either way.
That is qhite a song. But yes unfortunatly, when you know too much about music, you can't hardly do simple and nice to ear. That is why he struggles to make such a simple theme.
When he use it is crucial. What is about Indiana Jones and Star Wars are the ESCAPES. Escape to the plane, escape from the death star. These are great moments in the 2 movies. And that is when Williams punch it by playing the main theme: when the hero do something... heroic.
Williams forgot about this in Star wars 1-2-3-7-8-9 unfortunately. Also into Krystal Scull. Andial of Destiny he did it a bit more. Like on the train scene. Dial has great music. That video is a great analyses. Willams create emotions in the movie. Very important.
Yes, it is very difficult and the usage is extremely important.
Best movies . Best music 🌍🌎🌏 ☮☮☮☮☮☮☮☮☮☮☮☮☮☮☮
Hard to beat.
Please do an overview like this for the Superman theme.
I can definitely look into it! There’s been a few mentions of that theme in this comment section.
I find interesting that he didn’t mention how this theme sounds almost identical to the 3rd mvt theme of Tchaikovsky’s 6th symphony.
I just listened to it. I think it's not overt or bold like the Indiana Jones Theme, but I can hear the similarities for sure.
A fair opinion! That is just something I always thought of when I heard/played the piece.
I understand why!
Richard Strauss Don Juan?
@@jesustovar2549 I don't know that one. Can you identify the similarity?
Interesting analysis and very well edited. I would subscribe but I already did. So I guess I'll unsubscribe and then subscribe again?
Thanks as always! The unsubscribe/resubscribe method works fine.
I think the better method is making multiple accounts to subscribe with. This also gives the option of having self-congratulatory conversations with yourself in the comments of a video.
@@randomcommenter7343 Why, what an absolutely excellent point, truly such an innovative idea. Congratulations on your superb TH-cam skills.
@@irrelevantcat Thank you very much. You must be an inquisitive and highly intelligent person, much like the creator of this video.
You guys get on shockingly well. And you reply quickly, too...
i forget which filmmaker it was who said that many people interpret his movies in ways that he never intended - i think that applies to the symbolism seen in this music - i seriously doubt the "defeat" phrase was intended as that - as symbolizing the back and forth of Indy's struggles - to Williams - it was probably just a musical choice to switch between high and low - simply cuz it was musically satisfying
I think that’s exactly it. I don’t mean to say that Williams set out to have a “defeat” at a low point, this is just Audissino’s way of conveying the eventually-satisfying highs and lows of the theme.
Edit: I just added a note to the pinned comment that I hope makes this more clear.
@@FilmScoreandMore - 1:31 "that second part on its own - it's pretty unheroic - ...bringing it crashing down" - that was the risky part - that interpretation is bound to rub some people the wrong way - - the second part doesn't evoke unheroic feelings in me - to me - the first part is a flourish - the second is a contrast - not a crash - as well as a bridge to the second flourish - there was no sense of defeat
I see what you mean. In my mind it was pretty clear that I don’t mean it too literally. But it looks like the vast majority of viewers are getting the idea, which is about as much you can hope for online.
They sure don't make 'em like they used to.
I wish they did. There are some good ones out there, though.
Da-duh-da-daaaa, da-duh-daaaaa, da-duh-da-daaaaa, in-di-a-na-jones!
Great Scott!
I know this one🤠
That you do.
I was so thankful Indy 5 kept the theme.
I’d be shocked if they didn’t. That would be like a Star Wars episode completely dropping the main theme (I know it varies with the shows, but for the big spectacle episode movies they’ve got to have it).
@@FilmScoreandMore You've seen more and more movies over the last decade not including the theme song. I guess people started to think it wasn't cool anymore. Well, I think they're wrong: I smiled so much hearing the Indiana Jones theme again after so long! It's magical!
That’s great! I know what you mean. Sometimes withholding it makes it’s appearance more special, but this is one they have to use for sure.
It's just baroque fortspinnung and a simple sequence over an implied pedal tone for suspense and climax. 😁 The character comes from the sncopated leap notes. This was super common in the Baroque era. You can hear similarities with Handel's Water Music, and similar subject with sequence is in the first movement bof Telemann's Paris Quartet III, first movement. However, the "hook" from the "Raider's March" is almost identical to a 1960s Kent Cigarettes commercial! "To a French man, it's the Eiffel Tower, to a Dutch man, it a pretty flower, to an Indian, it's a monument, to a smoker, it a Kent"
Interesting, I wouldn’t have known that.
And in this case it’s:
“If adventure
has a name
then it must be
Indiana Jones!”
Why Stephen Speilberg is directing movies when he can whistle like that, we'll never know
Maybe the movie thing should have been more of a hobby.
Indiana jones is the spiderman of action movies.
Interesting. In what sense?
@@FilmScoreandMore Sorry for the half-thought. I was just thinking about how what makes Indiana Jones, to me, more compelling than Bond or Bourne or other action heroes is that he's a rather clumsy hero, and as you noted often, comically so. He trips, slips, tries and almost fails but pulls something together, makes plans up on the spot. There's an earnestness and sincerity to the character that feels very much like Spiderman to me. Spiderman - in contrast to Superman or Batman - feel equally out of his depth sometimes, but makes up for it with intelligence, persistence and sincerity. I suppose this is also something about the quintessential mid-century American hero, someone who is not suave or all-knowing like the British heroes, but somewhat naive, sincere and hardworking.
Thanks for elaborating. I agree with that actually. I’ve always been a big Spider-Man fan, and I think that imperfection and relatability make the two characters more interesting. They make mistakes, they get beaten down. But they keep pushing.
ÕMĞ é PôWéŘ-PhÛľĽ Orrrsé-Strâylêan
Right.
This is way over-thought, I'm sorry to say. There is absolutely no point in attempting to analyse or apply meaning to the minutia of a composition like this. Williams wrote a hero theme, two actually, and presented them to the director who chose in this instance to merge them both. These, at this stage, are generic hero themes that say nothing other than "hero". You don't even know how long those melodies might have been sitting in Williams' "bottom drawer" before he decided to take them out for a spin. However, what can be analysed (and have reasonable meaning applied to it) is the decisions on where to place the music cues in the movie, and how to use them. As briefly mentioned, the theme isn't used in it's complete form until later in the movie. Williams teases it first, in effect training the audience to recognise the hero theme so that when it is finally presented in it's full version the audience recognises it and responds to it. With regard to the going up and going down nature of the theme, it is ridiculous to attempt to apply such character-specific attributes to it. It is music, and as with ALL music, what goes up must come down. No piece of music has ever been created that doesn't follow this basic universal law. I think this "secret" is a way of selling books and getting clicks, nothing more.
Thanks for your comment. Obviously, all music has the rise and fall pattern. I've discussed that before with other themes, including Williams' E.T. flying theme where the rise and fall are absolutely deliberate in order to convey the idea of flight. I think there's a similar concept here. The melody follows that call-and-answer pattern. Yes it is heroic, but it also has its pitfalls. Should you choose to stop during one it is less than heroic. The A and B sections also follow the call-and-answer pattern, that's the nature of having an A and a B section, a main theme and a "bridge" as Spielberg refers to it.
I disagree about your "bottom drawer" theory. I know composers sometimes pull out old themes that didn't work before, but I used that clip of Williams discussing "simplicities, the hardest thing to capture" and about going "one note down, one note up." I may have cut out the part where he specifically says he put a lot of work into that to make it sound "inevitable," but that video is in the description for you to refer to.
If you think this is just a way of selling books and getting clicks I can assure you that is not at all how Audissino markets his book (this is such a tiny portion of the book anyway), and it's not my intention to be dishonest. It's a video about the Indiana Jones theme. That's what it's sold as. If you feel so strongly against Audissino's interpretation feel free to send him an email. But from the sounds of it I think you might actually enjoy the book.
@@FilmScoreandMore Thanks for your detailed reply. I apologise if my comment sounded hostile in any way. I have autism, and have been told that I am abrasive. I try hard not to be, but communication with other humans is hard for me. I don't actually have any strong feelings about the video or the book. It's just how I talk. However, I still find the use of the word "secret" in the video's title to be misleading, as there's nothing secret about any of it. I tend to take things literally - and am particularly sensitive to clickbait for that reason - but I think that's why I was a little incredulous about some of the conclusions being drawn. It rang a bit false to me. As to the bottom drawer, I agree that in this specific case it's unlikely, but nothing Williams said disproves it as a possibility. All it means is he worked very hard on a piece of music to get it just right, and then put it in his bottom drawer for later. He has talked extensively about placement of his music, and the psychology behind it. And he has discussed orchestrations and arrangements, and how themes grow and evolve through the movie - by design. I just think the rising notes equating to an attempt and the falling notes equating to a failure are a bit of a stretch, and I've never heard Williams say that's what he did. It may be possible to interpret things after the fact to make them fit a theory, but that doesn't mean the intention was there. Anyway, I obviously found the video interesting enough to comment - even if I disagreed - so well done for that! 😊😊
I understand, thanks for taking the time to clear things up. It's not the most hostile comment I've seen. I can be very literal too, and I also don't like clickbait. I don't want to use it and originally I had a more modest title: something like "Why The Indiana Jones Theme Is Perfect," which I think is more straightforward and hard to argue with. But the video underperformed and basically flatlined in 48 hours and stayed that way until a more successful TH-camr I know advised a title/thumbnail change and promoted the video himself. I don't like it much, but I think it works. And I absolutely get your criticism of the analysis.
That's fine if you think it could be a bottom drawer case. I still think it's not, and the book has a brief quote from Williams about wanting a heroic theme that "swells when the hero is doing well" which indicates to me he may have had the opposite idea in mind too, that it falls when he's not doing well to create that contrast. But this is about as far as we can take things. I'm always one to stick to interviews and sources and not to stretch theories. If I do have a theory I'm always clear to say "and this might be a coincidence." This one is more up for debate than what I normally do, but I'm also just the messenger here so it doesn't fall on me anyway.
Thank you. As a musician myself I see these analyses like interpretations of art. Sure, stuff adheres to rules and reflects intentions, but most of it is not planned (at least not to the extent presented here) and is simply the result of a good instinct on the composer's side.
I think instinct is absolutely a factor. I doubt Williams dictates his themes exactly the way they’re analyzed, but I think Audissino’s interpretation shows a result achieved one way or another.
I suppose this is a legitimate intellectual response to the score, but surely this wasn’t part of Williams’ strategy for writing the theme.
I mean, it’s an analysis of a personal response to the melodies involved, but I don’t think it’s revealing anything intentional on the composer’s part.
No, I don’t think it was that step-by-step on Williams’ part. I think instinct is a factor, even though Williams talks about how deliberate he was in choosing each note so they seemed inevitable, finding those perfect simplicities.
But it’s really just about the rise-and-fall pattern that eventually leads to the victorious fanfare.
@@FilmScoreandMoreyou're delusional and wrong
How so?
@@FilmScoreandMore because what you spout is literally fanfiction.
@@Whatismusic123 Please see the pinned comment for additional clarity.
A very nice piece, but I don't agree with the analysis.
Heroism is not monotonically increasing; it's sinusoidally increasing.
It's a March! That's why it's titled The Indy March.
I understand. John Williams often chooses to make his themes a march, hence Raiders March. But as mentioned in the pinned comment, Audissino also compares the theme directly to the Star Wars theme (which he analyzed in a previous chapter). The Star Wars theme doesn't have the same sense of overcoming something and climbing to that point but still sounds outright heroic.
Even so, you're welcome to disagree and I appreciate that you did so respectfully.
@@FilmScoreandMore I didn't know the Star Wars piece, but thank you for letting me know about it. I need to check it out.
Puh, the storyteller seems to be taking sleeping pills.
The narrator or the author?
Do you have any constructive criticism for the storyteller?
The terminator wasnt a hero
Was he not? Whoops. But my point is more about action stars, heroes or not.
Not in the first one. He was literally the bad guy. But your point still stands
I see. Doesn’t he have a redemption arc in the second? Obviously I’ve never seen them.
The narration is too robotic. Pause, bro!
Is it more a problem with my inflection or the pacing?
I try to vary the tone and hit the right up-tones and down-tones, but it's possible this isn't my best attempt. As for the pacing, I just try to make sure it flows and still has enough space to breathe. People will leave the video as soon as they click on it, so it's part of my job to keep giving them reason to stay. If I pause for too long, they're out.
Disagree but ok
With which part?
Why to you have to put sound effects in the editing?: little whooshing noises as you’re highlighting bits of the music score or transitioning to another scene, or those ting ting tings?
Please stop doing that, it’s distracting when trying to immerse yourself in the video.
Just stop
It’s supposed to have the opposite effect and does for most people. From my own perspective, it feels out of place if I have visuals with no accompanying sound effect. It’s different from when I have a voiceover on top of a clip with no audio.
Would reducing the volume of the sound effects help? That’s always tough to figure in editing. Has this been bothering you in any of my other videos?
It’s not really that much of an issue though is it?
It’s the first complaint I’ve gotten about it.
@@FilmScoreandMore I was talking to the guy complaining about the SFX, even if someone doesn’t like them, it’s not a big enough of a deal to write a whole comment about it
@@no-barkthechosenone2436 I know, and thank you.
plus...it's catchy.
That too, by design.