#Jurassic park theme song plus#

There's also that neat Ab -> Bb7 -> Gb figure ( 'We know Major Tom's a junkie'). Also note that the next tonic-dominant progression - Gb -> Db has got Gb-F as an inner voice, completing the descent. Like the STAR WARS example too, it's works due to the voice leading, with the chromatic stepwise motion from Bb -> A -> Ab to G, in the case of Ashes to Ashes.

Both of these gesture rise by a fifth (or descend by a fourth ), but I hear the Ab as secondary subdominant (if there's such a thing) to Eb, much like that JP passage. You got a basic tonic to dominant exchange (Bb -> F) then a sudden shift to Ab, which resolves down to Eb. Starting at 1:04 ( 'The shrieking of nothing is killing' etc.). I know it's a weird analogy, but the progression at work in that bridge from The Dinosaurs reminds me of the chorus from David Bowie's Ashes to Ashes (which is also in Bb - verse is minor and chorus in the parallel major). It shows once again how the apparently simplest ideas are probably the hardest one to work out, like a sculptor chisels away a piece of crude marble.Д«TW, great analysis as usual, Ludwig. While it's a theme that stands more on quasi classical concepts (mainly because of repetition of the main ideas) than others, it's quite interesting to dissect it and see how impeccably Williams constructed the whole arc. This specific Williams' piece always struck me as one of his simplest, most basic themes in terms of composition, but it's clear that it's something simple only by deception. But Williams manages to tie so many of the musical threads directly to the image that we are cleverly led to believe that this is the only good solution, adding to the scene's emotional power. Yes, that feeling of inevitability is a fascinating one, for there certainly are other possible, even equally good, musical solutions to the scene. It is also yet again shows the pains and work on Williams' part that he makes it feel so inevitable, like the music is the natural second half of that moment that couldn't exist without it.Д®legantly said as usual, Incanus. The religioso reverence that is depicted by the hymn styled theme not only catches the on screen action, the movement and pacing so well in its majestic slow progression but also Williams does what he often does best, illustrates in an exultant manner the sheer wonder and amazement, which seems to have almost spiritual dimension here. Yet again very interesting and thorough examination of one of the most beloved themes by the Maestro.ДЄnd the first appearance of the Dinosaurs theme is indeed one of the major moments in the film itself where the images and the music are a perfect marriage (I could say that about the whole Journey to the Island). This happens three times to reach a final cadence then the whole theme is restated with more intensity, so we get the same three phrases over again. Like so many other Williams themes, it states a single phrase with variation. I think that might be the best way to describe it. It just seemed a bit too esoteric to describe in the post (before I forgot about it!).ДЄs for the form, there's no standard term for it. That's what I would call it then - a quartal chord: Bb-Eb-Ab with subdominant function.

I somehow remembered it being bVII even though I had analyzed it before as a quartal chord. It was just a silly error on my part calling it bVII and I've corrected it now. Thank you for pointing this out so quickly, filmmusic.

These sound like a couplet-refrain to me, However the one true bVII i found was at 2.31 of your youtube video.Дў) it seems we have 2 sections of the theme: So, i would be curious to know what others think about this chord. In the next bar after that (last bar of example above), we still have an exchange between tonic and the same chord in question.

#Jurassic park theme song plus#

Plus we have the tonic of the IV chord in the bass.

So, that lab seems to me like a suspension, and not the tonic of the chord. I tried to play the theme with both a regular bVII in that spot, and a IV that resolved it's lab to sol, and the second option sounded to me that it fits more. In the end i concluded that those aren't bVII (which would be suspended of course, without the 3rd) but IV suspended chords (mib-lab-sib). I have 2 points to comment, since i studied the theme recently:ДЎ) to tell you the truth, those 2 chords you point as bVII have troubled me a bit.