Williams Unleashed (For dummies)

[charlesk 0]

I have found lately that several members like to study Williams' works, and some even attempted at composition. It is sad to know that few have received adequate musical education.

Not that I received much musical education myself, but it might be very instructive to try to 'deduce' what Williams does in his compositions, in a way that will help the hobby composers in the board to have a better clue on how to structure a work.

For the ones not interested in composition, this could help them listen to the music in a different way.

So, little by little, I would like to collect here analysis of particular Williams songs, in a plain, no-nonsense language. I hope the musicians will feel free to contribute. Please, keep language simple, and always use time guides in minutes and seconds, to mark the different parts of the piece.

Thanks

Charles

[charlesk 0]

Hedwig?s Theme (Total time 5:09)

This piece, as I see it, is an orchestral suite composed of three themes, which are varied in different styles of orchestrations. Let?s begin.

Music starts with a single instrument, celesta, playing a simple ?solo? rendition of Hedwig?s theme (theme A). Strings fade in flying accompanying patterns, while horns repeat theme A (0:46), complete and unaltered.

At this point, a contrasting idea is required, and Williams introduces a theme B (1:34), which in character is very different from the former one. Alternating pacific/aggressive, feminine/masculine themes is a very common practice in composition.

Just like it happened with theme A, theme B is first introduced very simply, in a ?solo? mode played by woodwinds. The theme is repeated now (1:47) by same section, but accentuated by trumpets while violent low strings accompany them.

A variation of Theme B is now played in solo celesta (1:59) and just as before, the variation is repeated, but now with strings accentuating the celesta (playing at unison ?same notes). After a short transition, a full orchestra version of theme B is played (2:31).

The path is now ready for introducing a third theme, theme C (2:46), which contrary to the last one is more lyrical, but dramatic, played in strings with full orchestra accompaniment. A short transitional passage (3:01-3:11) leads in a re-exposition of theme B in full orchestra, immediately followed by a re-exposition of theme C (3:27), in a different key, and slightly different orchestration. Most noticeable difference is how the brass imitates the last notes of the theme played by strings (3:31), a detail that seems to have been overlooked by William Ross in a similar passage in the Prologue for CoS.

Almost for the sake of balance, theme B is repeated again, now in brass only (3:46). A transitional passage (4:00) prepares the path for the finale. Here, like the call for battle, a shortened theme A reappears, passing from horns to trumpets to wooding, like contaminating the whole orchestra with its notes, to explode in the finale?

A full orchestra variation of theme A (4:18), now orchestration and rhythm in the style of a crazy and exuberant waltz, in a style quite adequate and reminiscent to ?The Sorcerer?s Apprentice? by Paul Dukas.

There it is: only three themes, one of them opens and closes the piece (theme A), and extended along 5 minutes of variations across several instrumental groups. So simple, yet so powerful.

[charlesk 0]

The Chamber of Secrets (Total time 3:49)

This piece is structured in a theme with variations. It begins with 12 seconds of accompaniment, which require a mention of their own. This accompaniment is exactly the same rhythm idea used as accompaniment for ?Fawkes The Phoenix?, but his time is in a minor key instead of Fawkes? mayor one. For those who don?t understand the difference of minor vs. mayor musical chords, sufficient to say that mayor chords sound ?happy, noble, festive?, while minor chords sound ?sad, nostalgic, evil?. This is per se an amazing phenomena since the only difference between a 3-note mayor and minor chord is just one note.

The mayor/minor use with same rythm is particularly important because by doing this Williams is identifying the representative of good in the movie as Fawkes, and the Chamber of Secrets as its opposite evil. Musically we understand that the battle is among the two, Harry in the middle, deciding for either side.

Strings keep accompanying, while woodwinds introduce a short version of the CoS theme, the only theme of the whole piece. The theme is shortly made into a variation (0:27), played by celesta. Horns take over (0:53) for a full rendition of the theme.

Then it comes a second variation (1:19) of theme A, in strings and woodwinds. The third variation (1:46) introduces the trumpets/oboe playing the variation, while strings accompany in fast notes.

In a very interesting orchestral twist, roles are reversed and now the accompanying strings take over (2:07) in the voice of this fourth variation, while the winds and brass accompany in fast notes similar to those played by the strings before (God, I love this part!).

This lead to the explosion of variation five (2:26), and variation six (2:41), which marks the climax.

The theme and its variation subdues now as it began, not without a little surprise (3:40) so people will know that the song has finished and will applaud.

[Ray Barnsbury 8]

Awesome! I loved reading those analyses; they're very good without being too technical or difficult to understand.

Ray Barnsbury

[Guest]

Great stuff man, great !!!!

That's the type of thing that is desperatly needed in these forums.

A music analysis that can be understood by those who just enjoy listening to film music but who don't really have a musical education.

Not that an education in any way shape or form can make you feel music any better, but it does help you to understand how a piece is built and developed.

Good work man, you have a good supply of meat.

[charlesk 0]

Hymn to the Fallen, from Saving Private Ryan (Total time 6:12)

This time Williams is required to write a Hymn. It is so easy to get into clichés on these things. A hymn has to be a simple tune, yet powerful and inspirational.

So Williams used a single tune, repeating it without transposing to different keys, without changing rhythm, without introducing new themes, and extends it for over 6 minutes while your attention not only doesn?t fade, but actually increases! Now, how in hell he accomplishes that?

For starters, this ?single tune? is a very long one. Williams had to smoke an egg roll to come out with a inspiring, lyrical and expressive original tune that lasts 1:07 minutes. Now, start your watch and wait in silence for 1:07 minutes to get an idea how long this is for a simple theme.

The theme itself can be analyzed, since it is composed of two ideas of different character: one timid, the other bold.

The first idea, the timid one begins (0:23) in chorus and woodwinds, and repeats (0:40) to lead to the second bolder idea (0:55), which repeats as well (1:18). Note that you can almost imagine the unspoken verses: two verses for the first timid idea, and two more for the bolder one, with their respective pauses after each paragraph. Throughout the theme, instruments in the orchestra sum up little by little, like people summoning up to the chant.

The brass plays a variation of the theme (1:44), here brass instruments are treated like a chorus, a capella (playing solo). Since the theme is going to be re-exposed twice, this variation is very important to make the piece less monotonous.

(2:44) The theme appears again in chorus, the timid part almost exactly the same as before, but the bold part gets even bolder, and gains impetus, not in speed -which remains unaltered- but by the resource of playing faster notes in the accompanying strings.

The full orchestra slowly awakes to play the theme again (3:57), chorus plays the theme almost unaltered helped by the reinforcement provided by the brass that plays along with them, while strings gain power with their accompaniment in rich and joyful fast notes.

The climax is achieved by stressing a new high note in the theme (4:39) that hasn?t heard before.

Orchestra subdues, and woodwinds (5:01) play part of the variation introduced before by the brass. The song ends exactly as it began...

Resuming: one theme, a variation in brass, two re-expositions, the second one with a climaxing note. Seems easy...if only it was easy to come up with SUCH a theme!

[scissorhands 16]

Many thanks Charles!

These analyses are very helpful.

I just wanted to add that, as it has been stated so many times, Hymn to the Fallen is NOT an independent piece. Apart from a similar style in some aspects (chords, instruments, etc.), there is a link to the rest of the score, well to "The Last Battle":

TLB, 6'54'', the beginning of this new theme played by trumpet is the same as the one that starts in 1'44'' in HTTF.

[charlesk 0]

You are absolutely right, s-hands! Thank you!

[Morlock 11]

The Hymn to Fallen one was really great. I just listened to it with your analasys and it really expland something to me.

I was always amazed at how JW could hold one tune, even the most beautiful tune, for 6 minutes, with it getting better and better as it goes along.

(I don't have the other two on my PC, so I can't compare them now)

Great work!

[Marian Schedenig 8,218]

Great!

Marian - waiting for Stefancos to return and commenting on how "pointless" this is. :roll:

[Trumpeteer 302]

These are awesome, Charles!

Hedwig's Theme is slowly becoming one of my most beloved Williams compositions. I always love how every section of the orchestra gets a turn with the themes. And the celeste is awesome. I heard this performed live a few weeks back and it gave me chills.

Jeff -- who's waiting to see Charles' future analyses

[Guest]

Jeff -- who's waiting to see Charles' future analyses

I hope it's not only Charles, but also other members well versed in musical theory

s-hands

[Melange 446]

I hope it's not only Charles, but also other members well versed in musical theory

There is this great bit that goes "BOOOOOM" and then goes quiet for a while.

After that, there is a squeely section that sounds like a cat being strangled (apparently)

Then there is this HUGE drumroll as the last part begins and we all rejoice in victorious splendour.

Melange - Pleased to offer his techincal analysis of a particulary fine and complex cue.

[Guest]

s-hands

[charlesk 0]

I'm trying to persuade the REAL composers and music theorists to make contributions (Ocelot, it IS you). One thing is to know what's going on, another is to make the excercise of putting in simple words these things. I'm learning a lot doing it.

I thank all your comments, guys. I didn't expect this. Next will be Superman's Love theme, Jim's New life (empire of the sun) and Fawke's theme (this last one will be a challenge to explain for its unusual theme structure).

I've been trying first the concert versions, since they have a more traditional structure. Action cues do not have it necessarily, but those that score well made sequences end-up structured for non-musical reasons (?!).

I'll hear requests. Thanks again

[Justin 2]

Nice job Charles!!!

Justin -

[Hlao-roo 389]

I'm trying to disuade the REAL composers and music theorists to make contributions (Ocelot, it IS you).

You're trying to "disuade" them?

[charlesk 0]

I'm trying to disuade the REAL composers and music theorists to make contributions (Ocelot, it IS you).

You're trying to "disuade" them?

Oh, THAT'S why I wasn't being successful. I corrected the typo. Thanks!

[King Mark 3,631]

Very interesting.These are great Charlesk.You can just hum the cue in your head and follow the text,and have a clear of what's going on orchestrally without needing to be a music scholar.

K.M.Who would like to read more of these.