Part 1: Introduction to Film Music

1.1: Definition

• Film music refers to the original score or soundtrack composed specifically for a film to enhance the storytelling, mood, and emotional impact.

1.2: Evolution

• Films were initially silent until technology enabled the inclusion of sound in the 1930s.

• King Kong (1933) was the first fully composed film score.

• King Kong’s score incorporated leitmotifs and themes, moving beyond mere background music.

• Leitmotifs: Recurring musical ideas associated with a character, object, or emotion.

• The importance of music in film was highlighted when the Best Original Film Score Oscar was introduced in 1935.

1.3: Purpose

• Enhance narrative and character development.

• Create atmosphere and emotion.

• Reinforce themes and motifs.

• Establish period or setting.

1.4: Key Elements

• Leitmotif: Recurring musical theme associated with a character, place, or idea.

• Orchestration: Instrumentation chosen to reflect the film's genre, setting, and emotional tone.

• Timing: Music is synchronized with visual cues to heighten dramatic impact.

1.5: Musical Techniques in Film Scoring

• Varying Orchestration:

  • The size and type of ensemble can vary by genre or budget.

  • Example: Star Wars uses a full-size orchestra, while Blade Runner relies heavily on synthesisers.

• Flexible Structure:

  • Film music must adapt to onscreen action, leading to variable bar lengths and phrases.

  • No fixed structure; music changes to match the narrative flow.

• Leitmotif Development:

  • Leitmotifs represent characters or themes and evolve with the storyline.

  • Repeated ostinatos (short, repetitive musical patterns) aid in thematic development.

• Dynamic and Expressive Range:

  • Music must reflect the visual elements on screen, such as the quick tempo during a car chase.

  • A wide range of dynamics (volume levels) enhances the emotional impact.

• Non-Diatonic Harmonies:

  • Dissonant chords are used to build tension and release it at crucial narrative moments.

  • These harmonies are often non-traditional, adding to the suspense.

• Frequent Metre Changes:

  • Changing time signatures help convey dynamic changes in onscreen action.

  • Keeps the music responsive to narrative shifts.

• Quartal Harmony:

  • Uses intervals of fourths, creating suspenseful harmonies.

  • Common in scenes requiring a feeling of unease or anticipation.

• Tempo Variations:

  • Frequent changes in tempo reflect shifts in mood and pace in the film’s narrative.

• Doubling of Parts:

  • Emphasizes key story moments, such as a character’s triumph.

  • Used to signify growing strength or overcoming challenges.

Part 2: John Williams

2.1: Early Life and Education

• Born in New York, USA, in 1932.

• Attended the Juilliard School in Manhattan for drama, music, and art.

2.2 Major Breakthrough

• Achieved his first major success with the score for Jaws (1975), winning an Oscar.

2.3: Iconic Film Scores

• Composed music for numerous iconic films, including:

  • Superman

  • Indiana Jones

  • E.T.

  • Harry Potter

  • Home Alone

  • War Horse

• Has composed music for over a hundred films and continues to work actively.

2.4: Contributions to Star Wars

• His music features prominently in the latest Star Wars trilogy.

• Conducted the London Symphony Orchestra for the Star Wars: A New Hope soundtrack in 1977.

2.5: Olympic and Television Work

• Composed music for four Olympic opening ceremonies.

• Wrote for television series, including the 1960s Lost in Space.

2.6: Conducting Career

• Served as principal conductor of the Boston Pops Orchestra from 1980 to 1993.

• Conducted many leading orchestras worldwide, enhancing his legacy as both a composer and conductor.

Part 3: “Star Wars: A New Hope” (1977) 

3.1: Film Introduction

• A New Hope is the first installment of the original Star Wars trilogy.

• Set in a galaxy oppressed by the menacing Galactic Empire.

• The story follows the Rebel Alliance fighting for freedom, led by the film’s heroes and heroines.

• Directed by George Lucas and became the highest-grossing film in history at the time.

3.2: George Lucas and John Williams Collaboration

• Lucas hired John Williams for the film’s score after his Oscar-winning work on Jaws (1975).

• The Star Wars franchise is estimated to be worth $41.9 billion.

3.3: John Williams' Musical Vision

• Williams imagined how a child would perceive Star Wars to create the musical themes and leitmotifs for the characters.

3.4: Recording of the Score

• Williams and the London Symphony Orchestra recorded the Star Wars score in just 12 days.

Part 4: Musical Description

4.1: Instrumentation

• Large Orchestra:

  • Star Wars features an orchestra of 86 players.

  • Abbreviations for instrument names in music scores often include:

    • Trumpet

    • Trombone

    • Horn

    • Timpani

    • Harp

    • Violins

    • Strings

    • Flute

• Instrumental Features:

  • Violin tremolos in the opening bar.

  • Pizzicato strings in bar 33.

  • Flute trill in bar 36.

4.2: Form and Structure

• Introduction:

  • Begins with the Star Wars logo accompanied by a dramatic four-bar fanfare.

  • This section sets the tone for the film.

• Main Theme and Leitmotif:

  • Introduced as the scrolling text tells the backstory.

  • The main leitmotif is introduced, followed by a contrasting B theme on the violin.

  • Structure: Ternary form (A-B-A), with the A theme returning for emphasis.

• Musical Characteristics:

  • Strong, ascending intervals (fourths and fifths) in the leitmotif.

  • Scored for brass, adding power and excitement.

  • Tonic note emphasized through pitch and rhythm.

  • Use of triplets to decorate the main theme.

• Link and Codetta:

  • As the camera pans down, a short fanfare and piccolo melody introduce the Rebel Blockade Runner leitmotif.

  • This section acts as a link and codetta before the film starts.

• Overall Structure:

  • Introduction - A-B-A - Link - Codetta.

4.3: Dynamics

• Emphasis on Dynamics:

  • Opening fanfare is fortissimo (ff), demanding attention.

  • Main theme continues at ff, giving a strong military feel with marching rhythms.

  • Contrasting B section at mezzo forte (mf), played by the strings, suggesting thematic diversity.

• Dynamic Variations:

  • Piccolo melody link is piano (p), adding a sense of mystery.

  • Codetta and Rebel Blockade Runner leitmotif return to ff during intense scenes.

4.4: Melody

• Main Melody:

  • An ascending leitmotif representing Luke Skywalker, heard after the opening fanfare (bars 4 to 7).

  • Heroic feel due to leaping intervals, triplets, and ff dynamics in the brass section.

• Rebel Blockade Runner Leitmotif:

  • Appears at the end of the work (bar 53), characterized by a minor third interval.

4.5: Texture

• Melody-Dominated Homophony:

  • Clear melody with the entire orchestra providing a homophonic accompaniment.

  • Opening fanfare includes imitation between lower and upper brass.

4.6: Metre and Rhythm

• Time Signature and Tempo:

  • Metre: 4/4

  • Tempo: 100 bpm, creating a military and marching feel.

• Rhythmic Elements:

  • Syncopated block chords accompany the main melody.

  • Numerous triplet ostinatos, e.g., in bars 30 and 51.

  • Piccolo link features longer notes, giving the illusion of a slower tempo while maintaining the original pulse.

4.7: Harmony and Tonality

• Key and Pedals:

  • Introduction and A-A-B-A section in B♭ major.

  • Key reinforced by an inverted tonic pedal in violins and a dominant pedal in lower parts (bar 11).

  • Phrases often end with imperfect cadences.

• Quartal Harmony:

  • Harmony built on fourths, creating an unresolved and dramatic sound.

  • Example: Bar 5 includes F, B♭, E♭, and A♭, with intervals of a fourth.

• Chromatic and Parallel Chords:

  • Chromatic notes in bar 7 and parallel chords.

  • Cluster chords in bar 46 add to the tension.

• Ambiguous Tonality:

  • Link section (from bar 30) has no clear key.

  • Rebel Blockade Runner leitmotif in A♭, with a C pedal, adds to the ambiguity.

4.8: Timbre

• Brass Section:

  • Exploits the top pitch range of the brass.

  • Accents used for emphasis and to add power.

Part 5: Performance Tips and Compositional Advantages

5.1: Melody-Led Homophony

• Performance Tip: Ensure balance between melody and harmony, especially if the number of performers varies.

• Compositional Advantage: Using just a melody line with homophonic accompaniment highlights the melody effectively.

5.2: Quartal Harmony

• Performance Tip: Practice adapting finger placement and alternating chord shapes for proficiency.

• Compositional Advantage: Quartal harmony enriches compositions with a colorful texture and unresolved tension.

5.3: Ternary Form

• Performance Tip: Vary the second A section to maintain listener interest.

• Compositional Advantage: A-B-A structure creates contrast and emphasizes main themes.

5.4: Pedal

• Performance Tip: Maintain consistent dynamics and rhythm when using a pedal note.

• Compositional Advantage: Pedal notes create tension and resolve to enrich harmonic progressions.

5.5: Fanfare

• Performance Tip: Perform fanfares maestoso for maximum impact.

• Compositional Advantage: Fanfares effectively open music sections and capture listener attention.

5.6: Pizzicato

• Performance Tip: Control string resonance for desired sound effects.

• Compositional Advantage: Pizzicato offers unique string sonority, ideal for storytelling music.