Here is a catalog of comparison between The Phantom Menace special edition DVD and accompanying soundtrack. The film timings (hour:minutes:seconds) are listed on the left, with approximate corresponding timings on the soundtrack (disc #, track #, minutes:seconds) on the right.
0:00:00-0:00:21 = D1, T1, 0:00-0:21 0:00:21-0:00:28 = no music 0:00:28-0:01:52 = D1, T2, 0:00-1:24 0:01:52-0:04:23 = D1, T3, 0:00-2:31 0:04:23-0:05:42 = D2, T4, 0:00-1:18 0:05:42-0:05:47 = appears to be an artificial extension of the end of D2, T4 0:05:47-0:07:32 = D1, T5, 0:00-1:44 0:07:32-0:09:55 = D1, T6, 0:00-2:23 0:09:55-0:10:49 = D1, T7, 0:00-0:53 0:10:49-0:13:09 = no music 0:13:09-0:13:32 = D1, T8, 0:00-0:23 0:13:32-0:14:08 = D1, T8, 0:23-0:55 (this picks up right where the previous left off, but is noticeably slower, so I've analyzed it as two separate parts) 0:14:08-0:17:14 = D1, T9, 0:00-3:05 0:17:14-0:18:45 = D1, T10, 0:00-1:31 0:18:45-0:19:17 = D1, T11, 0:00-1:01 0:19:17-0:19:58 = no music 0:19:58-0:21:16 = D1, T12, 0:00-1:18 0:21:16-0:23:25 = D1, T13, 0:00-2:08 0:23:25-0:25:08 = D1, T14, 0:00-1:42 0:25:08-0:27:12 = D1, T15, 0:00-2:03 0:27:12-0:28:14 = D1, T16, 0:00-1:02 0:28:14-0:28:57 = no music 0:28:57-0:29:51 = D1, T17, 0:00-0:53 0:28:51-0:30:11 = no music 0:30:11-0:30:17 = D1, T17, 1:40-1:44 0:30:17-0:31:13 = D1, T17, 1:20-2:17 0:31:08-0:31:45 = D1, T18, 0:31-1:08 0:31:45-0:32:29 = no music 0:32:29-0:33:41 = D1, T19, 0:00-1:11 0:33:41-0:34:37 = D1, T20, 0:00-0:56 0:34:37-0:35:57 = no music 0:35:57-0:37:15 = D1, T21, 0:00-1:18 0:37:13-0:39:48 = D1, T22, 0:00-2:35 0:39:48-0:40:54 = D1, T23, 0:00-1:05 0:40:54-0:41:45 = no music 0:41:45-0:44:43 = D1, T24, 0:00-2:51 0:44:43-0:44:26 = no music 0:44:26-0:47:57 = D1, T25, 0:01-2:23 0:47:57-0:49:32 = D1, T26, 0:00-1:34 0:49:32-0:49:37 = no music 0:49:37-0:51:02 = D1, D27, 0:00-1:24 0:51:03-0:52:04 = D1, T28, 0:00-1:00 0:52:04-0:53:02 = D1, T29, 0:00-0:53 0:53:02-0:55:01 = D1, T30, 0:00-1:58 0:55:01-0:55:58 = D1, T31, 0:00-0:55 0:55:58-0:56:39 = D1, T31, 0:09-0:48 0:56:39-0:56:44 = D1, T31, 0:51-0:56 0:56:44-0:56:55 = D1, T31, 0:58-1:08 0:56:55-0:56:58 = music unknown 0:56:58-0:57:03 = D1, T31, 1:09-1:14 0:57:03-0:57:13 = no music 0:57:13-0:58:26 = D1, T32, 0:00-1:12 0:58:26-1:06:58 = no music 1:06:58-1:09:13 = D1, T33, 0:00-2:14 1:09:13-1:09:24 = no music 1:09:24-1:10:34 = D1, T34, 0:00-1:09 1:10:34-1:11:15 = no music 1:11:15-1:16:19 = D2, T1, 0:00-5:04 1:16:19-1:18:06 = D2, T2, 0:00-1:48 1:18:06-1:21:57 = D2, T3, 0:00-3:50 1:21:57-1:22:35 = unknown music 1:22:35-1:22:48 = D2, T3, 3:50-4:02 1:22:48-1:23:45 = no music 1:23:45-1:24:23 = D2, T4, 0:00-0:37 1:24:23-1:26:54 = D2, T5, 0:03-2:25 1:26:54-1:28:11 = no music 1:28:11-1:29:23 = D2, T6, 0:00-1:12 1:29:23-1:33:05 = D2, T7, 0:00-3:41 1:33:05-1:36:53 = D2, T8, 0:00-3:47 1:36:53-1:37:22 = D2, T9, 0:00-0:28 1:37:22-1:39:42 = D2, T10, 0:00-2:19 1:39:42-1:42:08 = D2, T11, 0:00-2:25 1:42:08-1:44:38 = D2, T12, 0:00-2:29 1:44:38-1:45:02 = D2, T13, 0:00-0:25 1:45:02-1:45:53 = D2, T14, 0:00-0:51 1:45:53-1:46:17 = no music 1:46:17-1:46:36 = D2, T15, 0:00-0:18 1:46:36-1:46:38 = no music 1:46:38-1:47:03 = D2, T16, 0:00-0:24 1:47:03-1:48:25 = D2, T17, 0:00-1:21 1:48:25-1:49:13 = no music 1:49:13-1:49:57 = D2, T18, 0:00-0:44 1:49:57-1:50:21 = D2, T19, 0:00-0:24 1:50:21-1:51:13 = D2, T20, 0:00-0:51 1:51:13-1:52:02 = D2, T21, 0:00-0:47 1:52:02-1:53:02 = D2, T22, 0:00-0:59 1:53:02-1:55:01 = D2, T23, 0:00-1:59 1:55:01-1:56:19 = D2, T24, 0:00-01:18 1:56:19-1:56:32 = no music 1:56:32-1:56:45 = D2, T25, 0:00-0:14 1:56:45-1:59:04 = D2, T26, 0:00-2:18 1:59:04-2:01:25 = D2, T27, 0:00-2:21 2:01:25-2:02:06 = no music 2:02:06-2:03:37 = D2, T28, 0:00-1:30 2:03:37-2:03:39 = no music 2:03:39-2:03:57 = D2, T28, 1:31-1:50 2:03:58-2:05:29 = D2, T28, 1:50-3:21 2:05:29-2:07:17 = D2, T29, 0:00-1:47 2:07:17-2:08:35 = D2, T30, 0:00-1:18 2:08:27-2:09:51 = D2, T31, 0:00-1:24 2:09:51-2:11:04 = D2, T32, 0:00-1:12 2:11:04-2:11:25 = D2, T32, 1:15-1:36 2:11:25-2:11:43 = D2, T32, 1:54-2:12 2:11:43-2:11:49 = D2, T32, 2:32-2:38 2:11:49-2:12:28 = D2, T32, 3:34-4:13 2:12:28-2:13:04 = D2, T32, 4:26-5:02 2:13:04-2:13:21 = D2, T32, 5:03-5:19 2:13:21-2:16:11 = D2, T32, 5:20-8:11
0 Comments
Here is a catalog of comparison between "Return of the Jedi" special edition DVD and accompanying soundtrack. The film timings (hour:minutes:seconds) are listed on the left, with approximate corresponding timings on the soundtrack (disc #, track #, minutes:seconds) on the right.
0:00:00-0:00:22 = D1, T1, 0:00-0:22 Much like "The Empire Strikes Back", in the film the last chord of the opening fanfare is held about a second longer than on the soundtrack. Presumably they used different takes for the film and soundtrack. And I have no idea why. 0:00:22-0:00:29 = no music 0:00:29-0:01:56 = D1, T2, 0:00-1:29 0:01:56-0:02:48 = D1, T2, 1:32-2:25 0:02:48-0:02:52 = D1, T2, 2:29-2:33 0:02:52-0:02:58 = D1, T2, 2:54-3:00 0:02:58-0:03:08 = D1, T2, 3:03-3:13 0:03:08-0:03:46 = D1, T2, 3:15-3:52 0:03:46-0:05:00 = D1, T2, 3:53-5:17 0:05:00-0:05:12 = D1, T2, 7:16-7:27 0:05:12-0:05:19 = D1, T2, 7:31-7:38 0:05:19-0:05:41 = D1, T2, 7:40-8:02 0:05:41-0:08:11 = no music 0:08:11-0:09:11 = D1, T13, 0:00-1:00 0:09:11-0:09:16 = D1, T13, 1:01-1:06 0:09:16-0:10:15 = D1, T13, 1:06-2:04 0:10:15-0:11:14 = D1, T3, 0:00-0:59 0:11:14-0:12:22 = no music 0:12:22-0:12:45 = D1, T14, 2:20-2:43 0:12:45-0:12:49 = no music 0:12:49-0:13:49 = D1, T14, 0:00-0:59 0:13:49-0:14:23 = no music 0:14:23-0:14:38 = unknown music 0:14:38-0:15:36 = D1, T4, 0:44-1:42 0:15:36-0:16:43 = D1, T4, 1:40-2:47 0:16:43-0:16:45 = no music 0:16:45-0:17:33 = unknown music 0:17:33-0:19:54 = D1, T5, 0:02-2:22 0:19:54-0:20:19 = D1, T11, 8:40-9:04 0:20:19-0:20:54 = D1, T6, 1:29-2:03 0:20:54-0:20:57 = unknown music 0:20:57-0:21:13 = D1, T6, 1:34-1:50 0:21:13-0:21:26 = unknown music 0:21:26-0:22:09 = no music 0:22:09-0:23:39 = D1, T6, 0:00-1:30 0:23:39-0:24:05 = D1, T6, 2:06-2:31 0:24:05-0:24:46 = unknown music 0:24:46-0:25:09 = D1, T6, 3:14-3:36 0:25:09-0:25:18 = unknown music 0:25:18-0:25:36 = D1, T6, 3:36-3:53 0:25:36-0:26:03 = D1, T6, 4:02-4:28 0:26:03-0:26:12 = D1, T6, 4:51-5:00 0:26:12-0:27:49 = D1, T6, 5:13-6:49 0:27:49-0:27:55 = music unknown There seems to be a few extra measures of timpani in the film that is not included on the CD. 0:27:55-0:28:43 = D1, T6, 6:50-7:38 0:28:43-0:29:49 = D1, T6, 7:42-8:47 0:29:49-0:31:07 = unknown music (definitely not included on soundtrack) 0:31:07-0:31:18 = D1, T7, 0:00-0:11 0:31:18-0:32:14 = no music 0:32:14-0:32:56 = D1, T7, 0:58-1:40 0:32:56-0:33:02 = D1, T7, 1:43-1:49 0:33:02-0:33:59 = D1, T7, 1:50-2:47 0:33:59-0:34:04 = D1, T7, 4:33-4:37 0:34:04-0:34:17 = D1, T7, 4:34-4:46 0:34:17-0:34:32 = D1, T7, 3:09-3:23 0:34:32-0:34:40 = unknown music 0:34:40-0:34:45 = D1, T7, 3:27-3:31 0:34:45-0:34:59 = D1, T7, 3:38-3:52 0:34:59-0:36:02 = D1, T7, 4:24-5:25 0:36:02-0:36:28 = D1, T7, 1:59-2:25 0:36:28-0:36:35 = D1, T7, 3:45-3:51 0:36:35-0:36:52 = D1, T7, 5:02-5:18 0:36:52-0:37:20 = D1, T7, 5:25-5:53 0:37:20-0:37:45 = no music 0:37:45-0:37:53 = D1, T8, 0:00-0:09 0:37:53-0:37:57 = D2, T6, 0:13-0:16 0:37:57-0:38:02 = D2, T6, 0:16-0:20 0:38:02-0:38:22 = D1, T8, 0:20-0:40 0:38:22-0:38:44 = D2, T6, 0:23-0:45 0:38:44-0:39:27 = D1, T8, 1:04-1:47 0:39:27-0:39:35 = unknown music 0:39:35-0:39:45 = no music 0:39:45-0:40:00 = unknown music 0:40:00-0:44:51 = D1, T8, 2:13-7:04 0:44:51-0:45:45 = D1, T8, 7:04-7:57 0:45:45-0:45:55 = D1, T8, 7:54-8:04 0:45:55-0:48:02 = no music 0:48:02-0:48:41 = D1, T8, 10:14-10:52 0:48:41-0:49:32 = no music 0:49:32-0:50:22 = D1, T9, 0:00-0:50 0:50:22-0:50:50 = D1, T9, 1:02-1:30 0:50:50-0:51:29 = D1, T9, 1:02-1:40 0:51:29-0:51:51 = D1, T9, 1:44-2:10 0:51:51-0:53:11 = no music 0:53:11-0:54:44 = D1, T10, 0:00-1:32 0:54:44-0:57:05 = D1, T10, 1:39-4:01 0:57:05-0:57:25 = no music 0:57:25-0:58:44 = D1, T11, 0:00-1:19 0:58:44-1:01:46 = no music 1:01:46-1:01:58 = D1, T11, 1:23-1:35 1:01:58-1:02:01 = no music 1:02:01-1:02:08 = D1, T11, 1:31-1:38 1:02:08-1:02:39 = D1, T11, 1:40-2:11 1:02:39-1:02:43 = no music 1:02:43-1:03:04 = D1, T11, 2:11-2:32 1:03:04-1:03:29 = no music 1:03:29-1:04:47 = D1, T11, 2:58-4:15 1:04:47-1:05:18 = no music 1:05:18-1:06:19 = D1, T11, 4:15-5:15 1:06:19-1:06:29 = unknown music 1:06:29-1:06:43 = D1, T11, 5:25-5:39 1:06:43-1:09:26 = D1, T11, 5:56-8:40 1:09:26-1:09:32 = no music 1:09:32-1:10:09 = D1, T11, 9:00-9:37 1:10:09-1:11:46 = no music 1:11:46-1:13:56 = D2, T11, 0:00-2:09 1:13:56-1:14:21 = D2, T11 extended (either by edit or a different take) 1:14:21-1:14:32 = no music 1:14:32-1:14:48 = D2, T11, 1:41-1:57 1:14:41-1:15:07 = D1, T12, 0:00-0:26 1:15:07-1:15:34 = D1, T12, 0:57-1:24 1:15:34-1:15:51 = D1, T12, 0:55-1:08 (last chord somehow sustained longer in film than on soundtrack) 1:15:51-1:17:04 = D1, T12, 1:27-2:39 1:17:04-1:17:25 = no music 1:17:25-1:17:29 = D2, T11, 2:25-2:28 (several minute edits) 1:17:29-1:17:37 = unknown music 1:17:37-1:18:20 = D2, T11, 2:28-3:10 1:18:20-1:19:29 = unknown music 1:19:29-1:22:30 = D2, T3, 0:00-3:02 1:22:30-1:22:55 = D2, T3, 3:07-3:32 1:22:55-1:25:54 = D2, T3, 3:35-6:34 1:25:54-1:26:13 = D2, T4, 3:06-3:24 1:26:08-1:26:26 = D2, T3, 6:48-7:06 1:26:26-1:26:38 = no music 1:26:38-1:27:51 = D2, T3, 7:13-8:26 1:27:51-1:29:59 = D2, T3, 8:31-10:39 1:29:59-1:30:03 = no music 1:30:03-1:33:18 = D2, T4, 0:00-3:15 1:33:18-1:34:28 = D2, T5, 3:38-4:46 1:34:28-1:34:52 = D2, T5, 4:55-5:18 1:34:52-1:35:01 = unknown music 1:35:01-1:35:31 = D2, T5, 5:19-5:49 1:35:31-1:36:01 = D2, T5, 5:51-6:20 1:36:01-1:39:11 = D2, T5, 6:34-9:41 1:39:11-1:41:10 = D2, T5, 9:46-1:44 1:41:10-1:41:58 = D2, T6, 0:47-1:35 1:41:58-1:42:04 = unknown music 1:42:04-1:43:12 = D2, T6, 1:43-2:50 1:43:12-1:43:16 = unknown music 1:43:16-1:44:07 = D2, T6, 2:55-3:46 1:44:07-1:44:14 = D2, T6, 4:01-4:08 1:44:14-1:44:21 = D2, T6, 4:09-4:16 1:44:21-1:44:25 = D2, T6, 4:17-4:21 1:44:25-1:44:34 = unknown music 1:44:34-1:45:19 = D2, T7, 0:07-0:52 1:45:19-1:54:17 = D2, T7, 0:56-9:53 1:54:17-1:56:11 = D2, T8, 0:00-1:54 1:56:11-1:58:35 = D2, T8, 1:57-4:21 1:58:35-1:58:41 = TESB D2, T11, 4:31-4:36 1:58:41-1:58:56 = TESB D2, T11, 4:47-5:02 1:58:56-1:59:23 = unknown music 1:59:23-2:00:09 = D2, T8, 5:16-6:02 2:00:06-2:01:20 = D2, T9, 0:00-1:13 2:01:20-2:01:26 = no music 2:01:26-2:02:35 = D2, T9, 2:12-3:20 2:02:23-2:03:01 = D2, T10, 0:00-0:24 (the beginning of this is extended somehow, either through edits or a different take - and I suspect the latter) 2:03:01-2:04:33 = D2, T10, 0:51-2:23 2:04:33-2:05:11 = D2, T10, 2:24-3:02 2:05:11-2:05:39 = D2, T10, 3:10-3:38 2:05:39-2:06:20 = D2, T10, 4:09-4:49 2:06:20-2:11:28 = D2, T10, 3:25-8:33 Notice how 1:58:35-1:58:56 borrows from The Empire Strikes Back. There are many more "unknown music" passages in Return of the Jedi than in either two previous films, which makes me suspect that maybe some of them are taken from other films and that's why I cannot find them on the Jedi soundtrack. The primary musical contribution in Star Wars, Episode I: The Phantom Menace is the epic "Duel of the Fates", the ostinato of which is likely borrowed from the third movement scherzo of Antonín Dvořák's Symphony No. 9, commonly known as "The New World Symphony". First, here's an excerpt from Star Wars. While the ostinato continues throughout the majority of the track, it is easiest to hear (despite being very quiet) from 0:15 to 0:24. Now compare that with the Dvořák. Here, too, the ostinato is used throughout the majority of the track, but it is easiest to hear at 0:18. While they're clearly not identical (the Dvořák is in triple meter, while the Williams is in duple, and the first half of the Dvořák ostinato has no counterpart in the Williams), the similarities are undeniable: Both are in E minor, using the notes A-G-F#-E consecutively in close but not identical rhythms (indicated in the graphic below with solid red lines). Furthermore, the first note of this pattern is comparable: F# in the Dvořák, compared to G in the Williams - a half step apart, the smallest possible interval (indicated below with the dotted red line). Given all of that, I think it very likely that Williams' temp track for The Phantom Menace included Dvořák's Symphony No. 9.
My thanks to fellow Beatles and Star Wars fan Matt Blick, of The Beatles Songwriting Academy, for pointing out a similarity between John Williams' "Rebel Motif" as heard in Star Wars: A New Hope and Leighton Lucas' score to the 1958 movie Ice Cold in Alex. A clip from the latter may be found below. This music bear striking similarities to Williams', particularly towards the end, around 1:40 - a transcription of which is provided below. Now compare with the opening scene from A New Hope, as heard at the beginning of the third track from the soundtrack. Although Alex is fast (a tempo of roughly 180 bpm) and Star Wars is slower (about half as fast), both feature a Mars-inspired ostinato in the lower strings, with a fanfare consisting of two major chords a minor third apart heard in the treble voices. Furthermore, in both, this fanfare opens with a very short anacrusis (think of the "ta" in "ta-da") followed by a long held chord that resolves to the lower chord, which is shorter in duration than the held chord, but longer in duration than the anacrusis.
I think it's a safe bet that Ice Cold in Alex was on John Williams' temp track for Star Wars! A popular subject of debate in various Star Wars internet chatrooms is the degree of similarity between "Across the Stars", the love theme of Attack of the Clones... ... and the initial melody of the theme from Hook. Both films being scored by John Williams, it is no surprise to find similarities. As I have pointed out in previous blogs, Williams often borrows heavily from other sources, and in this case he borrows from himself. To illustrate, here is a visual score examle. Of the 16 notes used in "Across the Stars", all but three correspond with Hook. That's not to say that the two are identical - the register (soprano vs. alto), instrumentation (oboe vs. horns), tempo (slow vs. fast), and character (love theme vs. fantasy/adventure theme) are all completely different - but intervallically they are very similar indeed.
This blog is a comparison of the The Empire Strikes Back soundtrack with the music actually heard in the film, with the timings of the soundtrack (minute:second) on the left, followed by an equal sign (=) and the approximate corresponding timings where that cue is used in the film (hour:minutes:second) on the right.
Disc 1 Track 1: Twentieth Century-Fox Fanfare 0:00-0:21 = 0:00:02-0:00:22 Disc 1 Track 2: Main Title/The Ice Planet Hoth 0:00-1:31 = 0:00:29-0:01:59 1:31-2:30 = not used in film 2:30-3:53 = 0:02:54-0:04:17 3:53-5:22 = not used in film 5:22-6:41 = 0:05:46-0:07:04 6:41-8:07 = not used in film Disc 1 Track 3: The Wampa's Lair/Vision Of Obi-Wan/Snowspeeder 0:00-1:42 = 0:08:21-0:10:09 0:10-0:29 = 0:16:30-0:16:49 1:42-4:29 = not used in film 4:29-6:48 = 0:12:56-0:15:14 6:48-7:54 = not used in film 7:54-8:11 = 0:16:12-0:16:30 8:11-8:47 = not used in film Disc 1 Track 4: The Imperial Probe/Aboard The Executor 0:00-0:54 = 0:01:59-0:02:54 0:54-3:18 = not used in film 3:18-4:16 = 0:19:47-0:21:30 4:16-4:23 = not used in film Disc 1 Track 5: The Battle of Hoth 0:01-4:01 = 0:21:55-0:25:52 4:01-4:27 = not used in film 4:27-7:36 = 0:26:15-0:29:31 7:36-7:40 = not used in film 7:40-11:28 = 0:29:31-0:33:15 11:16-11:41 = 0:33:15-0:33:40 11:41-11:43 = not used in film 11:43-13:40 = 0:33:40-0:35:37 13:40-13:51 = not used in film 13:51-14:37 = 0:35:45-0:36:31 14:37-14:45 = not used in film Disc 1 Track 6: The Asteroid Field 0:01-0:27 = 0:36:49-0:37:16 0:27-0:29 = not used in film 0:29-2:54 = 0:37:16-0:39:40 2:54-2:57 = not used in film 2:57-4:05 = 0:39:40-0:40:48 4:10-4:15 = not used in film Disc 1 Track 7: Arrival on Dagobah 0:00-1:20 = 0:41:35-0:42:55 1:19-1:20 = 0:42:55-0:42:56 1:19-1:48 = 0:42:56-0:43:26 1:48-3:30 = 0:43:28-0:45:09 3:20-3:29 = 0:04:17-0:04:26 3:29-3:33 = not used in film 3:33-4:51 = 0:46:09-0:47:28 Disc 1 Track 8: Luke's Nocturnal Visitor 0:00-1:48 = not used in film 1:48-2:10 = 0:49:45-0:50:08 2:04-2:11 = 0:50:08-0:50:17 2:11-2:24 = not used in film 2:24-2:29 = 0:50:17-0:50:22 2:29-2:35 = not used in film Disc 1 Track 9: Han Solo and The Princess 0:01-1:34 = 0:50:46-0:52:19 1:35-3:03 = 0:52:19-0:53:47 2:39-3:25 = 0:53:47-0:54:31 Disc 1 Track 10: Jedi Master Revealed/Mynock Cave 0:02-2:08 = 0:55:36-0:57:42 3:16-5:36 = 0:58:44-1:01:04 5:36-5:43 = not used in film Disc 1 Track 11: The Training Of A Jedi Knight/The Magic Tree 0:00-1:36 = not used in film 1:36-4:26 = 1:02:32-1:05:21 4:30-5:06 = 1:05:21-1:05:56 5:06-5:14 = not used in film Disc 2 Track 1: The Imperial March (Darth Vader's Theme) Concert version (not used in film) Disc 2 Track 2: Yoda's Theme Concert version (not used in film) Disc 2 Track 3: Attacking a Star Destroyer 0:00-0:06 = not used in film 0:06-3:04 = 1:06:09-1:09:07 Disc 2 Track 4: Yoda and The Force 0:00-3:04 = 1:09:46-1:12:50 0:31-0:52 = 1:59:48-2:00:09 3:04-3:05 = not used in film 3:05-3:52 = 1:12:50-1:13:37 3:52-4:01 = not used in film Disc 2 Track 5: Imperial Starfleet Deployed/City In The Clouds 0:00-0:26 = not used in film 0:26-0:52 = 1:14:13-1:14:39 0:52-1:16 = not used in film 1:16-1:51 = 1:15:54-1:16:30 1:47-1:54 = 1:16:30-1:16:37 1:54-1:56 = not used in film 1:56-3:47 = 1:16:37-1:18:28 3:51-5:17 = 1:18:28-1:19:52 5:17-6:02 = not used in film Disc 2 Track 6: Lando's Palace 0:00-3:53 = 1:21:35-1:25:27 Disc 2 Track 7: Betrayal at Bespin 0:01-0:12 = 1:25:30-1:25:42 0:12-0:20 = not used in film 0:20-1:00 = 1:25:57-1:26:37 1:00-2:36 = 1:27:46-1:29:21 2:18-2:33 = 1:25:42-1:25:57 2:36-2:44 = not used in film 2:44-3:45 = 1:29:48-1:30:50 Disc 2 Track 8: Deal With the Dark Lord 0:00-2:29 = 1:31:23-1:33:51 2:29-2:36 = not used in film Disc 2 Track 9: Carbon Freeze/Darth Vader's Trap/Departure 0:01-0:17 = 1:34:21-1:34:37 0:17-0:20 = not used in film 0:20-2:14 = 1:34:37-1:36:31 2:14-2:16 = not used in film 2:16-2:18 = 1:36:31-1:36:33 2:18-2:34 = 1:36:33-1:36:50 (Several minute edits around here make timing inexact.) 2:34-3:30 = not used in film 3:30-4:17 = 1:37:04-1:37:51 4:17-5:35 = 1:37:54-1:39:12 5:35-5:37 = not used in film 5:37-6:51 = 1:39:12-1:40:27 6:51-8:12 = not used in film 8:12-10:20 = 1:41:46-1:43:54 10:20-11:48 = not used in film Disc 2 Track 10: The Clash of Lightsabers 0:00-0:26 = not used in film 0:26-1:42 = 1:45:52-1:47:06 1:38-4:15 = 1:47:06-1:49:44 Disc 2 Track 11: Rescue From Cloud City/Hyperspace 0:00-1:56 = 1:50:27-1:52:22 0:02-0:06 = 1:55:55-1:55:59 1:55-3:51 = 1:52:22-1:54:17 3:57-4:11 = 1:54:26-1:54:40 4:08-4:46 = 1:54:40-1:55:18 4:46-4:51 = not used in film 4:51-5:02 = 1:55:18-1:55:30 5:02-5:04 = not used in film 5:04-5:29 = 1:55:30-1:55:55 5:23-5:26 = 0:15:29-0:15:31 5:23-5:26 = 0:15:31-0:15:34 5:23-5:26 = 0:15:34-0:15:37 5:23-5:24 = 0:15:37-0:15:38 5:24-5:27 = 1:58:56-1:58:59 5:27-5:32 = 1:56:15-1:56:21 5:34-5:58 = 0:15:38-0:16:02 5:36-5:54 = 1:56:21-1:56:49 5:54-6:11 = not used in film 6:11-6:21 = 0:16:02-0:16:12 6:14-8:14 = 1:56:56-1:58:56 8:14-9:03 = 1:58:59-1:59:48 Disc 2 Track 12: The Rebel Fleet/End Title 0:01-0:34 = 2:00:08-2:00:40 0:29-1:22 = 2:00:40-2:01:34 1:22-1:34 = not used in film 1:34-4:37 = 2:01:34-2:04:36 (This doesn't quite line up, suggesting a different take was used than the one on the soundtrack.) 3:42-6:25 = 2:04:36-2:07:20 Here is a catalog of comparison between "The Empire Strikes Back" special edition DVD and accompanying soundtrack. The film timings (hour:minutes:seconds) are listed on the left, with approximate corresponding timings on the soundtrack (disc #, track #, minutes:seconds) on the right.
0:00:00-0:00:02 = no music 0:00:02-0:00:22 = D1, T1, 0:00-0:21 Curiously, in the film the last chord of the opening fanfare is held about a second longer than on the soundtrack. Presumably they used different takes for the film and soundtrack. Why? I have no idea. 0:00:22-0:00:29 = no music 0:00:29-0:01:59 = D1, T2, 0:00-1:31 0:01:59-0:02:54 = D1, T4, 0:00-0:54 0:02:54-0:04:17 = D1, T2, 2:30-3:53 0:04:17-0:04:26 = D1, T7, 3:20-3:29 0:04:26-0:05:46 = no music 0:05:46-0:07:04 = D1, T2, 5:22-6:41 0:07:04-0:08:21 = no music 0:08:21-0:10:09 = D1, T3, 0:00-1:42 Here the music matches, but not the timing (what takes 108 seconds in the film lasts 106 seconds in the soundtrack). I assume this is the result of different takes being used. 0:10:09-0:12:56 = no music 0:12:56-0:15:14 = D1, T3, 4:29-6:48 0:15:14-0:15:29 = no music 0:15:29-0:15:31 = D2, T11, 5:23-5:26 0:15:31-0:15:34 = D2, T11, 5:23-5:26 0:15:34-0:15:37 = D2, T11, 5:23-5:26 0:15:37-0:15:38 = D2, T11, 5:23-5:24 Notice that this music was actually written for the end of the film. As a result, it took some editing to get it to fit properly. Consequently, the couple of seconds starting at D2, T11, 5:23 are heard four times in a row. 0:15:38-0:16:02 = D2, T11, 5:34-5:58 0:16:02-0:16:12 = D2, T11, 6:11-6:21 0:16:12-0:16:30 = D1, T3, 7:54-8:11 0:16:30-0:16:49 = D1, T3, 0:10-0:29 0:16:49-0:19:47 = no music 0:19:47-0:21:30 = D1, T4, 3:18-4:16 0:21:30-0:21:55 = no music 0:21:55-0:25:52 = D1, T5, 0:01-4:01 0:25:52-0:26:15 = no music 0:26:15-0:29:31 = D1, T5, 4:27-7:36 0:29:31-0:33:15 = D1, T5, 7:40-11:28 0:33:15-0:33:40 = D1, T5, 11:16-11:41 (Notice the repeat of 11:16-11:28) 0:33:40-0:35:37 = D1, T5, 11:43-13:40 0:35:37-0:35:45 = no music 0:35:45-0:36:31 = D1, T5, 13:51-14:37 0:36:31-0:36:49 = no music 0:36:49-0:37:16 = D1, T6 0:01-0:27 0:37:16-0:39:40 = D1, T6, 0:29-2:54 0:39:40-0:40:48 = D1, T6, 2:57-4:05 0:40:48-0:41:35 = no music 0:41:35-0:42:55 = D1, T7, 0:00-1:20 0:42:55-0:42:56 = D1, T7, 1:19-1:20 0:42:56-0:43:26 = D1, T7, 1:19-1:48 Notice how 1:19-1:20 is actually heard three times in a row. 0:43:26-0:43:28 = no music 0:43:28-0:45:09 = D1, T7, 1:48-3:30 0:45:09-0:46:09 = no music 0:46:09-0:47:28 = D1, T7, 3:33-4:51 0:47:28-0:49:45 = no music 0:49:45-0:50:08 = D1, T8, 1:48-2:10 0:50:08-0:50:17 = D1, T8, 2:04-2:11 0:50:17-0:50:22 = D1, T8, 2:24-2:29 These last two don't line up perfectly. I assume a different take was used in the film than was used in the soundtrack. 0:50:22-0:50:46 = no music 0:50:46-0:52:19 = D1, T9, 0:01-1:34 0:52:19-0:53:47 = D1, T9, 1:35-3:03 0:53:47-0:54:31 = D1, T9, 2:39-3:25 Notice that 2:39-3:03 is heard twice in a row. 0:54:31-0:55:36 = no music 0:55:36-0:57:42 = D1, T10, 0:02-2:08 0:57:42-0:58:44 = no music 0:58:44-1:01:04 = D1, T10, 3:16-5:36 1:01:04-1:02:32 = no music 1:02:32-1:05:21 = D1, T11, 1:36-4:26 1:05:21-1:05:56 = D1, T11, 4:30-5:06 1:05:56-1:06:09 = no music 1:06:09-1:09:07 = D2, T3, 0:06-3:04 1:09:07-1:09:46 = no music 1:09:46-1:12:50 = D2, T4, 0:00-3:04 1:12:50-1:13:37 = D2, T4, 3:05-3:52 1:13:37-1:14:13 = no music 1:14:13-1:14:39 = D2, T5, 0:26-0:52 1:14:39-1:15:54 = no music 1:15:54-1:16:30 = D2, T5, 1:16-1:51 1:16:30-1:16:37 = D2, T5, 1:47-1:54 1:16:37-1:18:28 = D2, T5, 1:56-3:47 1:18:28-1:19:52 = D2, T5, 3:51-5:17 1:19:52-1:21:35 = no music 1:21:35-1:25:27 = D2, T6, 0:00-3:53 1:25:27-1:25:30 = no music 1:25:30-1:25:42 = D2, T7, 0:01-0:12 1:25:42-1:25:57 = D2, T7, 2:18-2:33 1:25:57-1:26:37 = D2, T7, 0:20-1:00 1:26:37-1:27:46 = no music 1:27:46-1:29:21 = D2, T7, 1:00-2:36 1:29:21-1:29:48 = no music 1:29:48-1:30:50 = D2, T7, 2:44-3:45 1:30:50-1:31:23 = no music 1:31:23-1:33:51 = D2, T8, 0:00-2:29 1:33:51-1:34:21 = no music 1:34:21-1:34:37 = D2, T9, 0:01-0:17 1:34:37-1:36:31 = D2, T9, 0:20-2:14 1:36:31-1:36:33 = D2, T9, 2:16-2:18 1:36:33-1:36:50 = D2, T9, 2:18-2:34 Several minute edits around here, making the timing unusual and inexact. 1:36:50-1:37:04 = no music 1:37:04-1:37:51 = D2, T9, 3:30-4:17 1:37:51-1:37:54 = unknown music There is an extra brass chord the film that doesn't seem to exist in the soundtrack. 1:37:54-1:39:12 = D2, T9, 4:17-5:35 1:39:12-1:40:27 = D2, T9, 5:37-6:51 1:40:27-1:41:46 = no music 1:41:46-1:43:54 = D2, T9, 8:12-10:20 1:43:54-1:45:52 = no music 1:45:52-1:47:06 = D2, T10, 0:26-1:42 1:47:06-1:49:44 = D2, T10, 1:38-4:15 1:49:44-1:50:27 = no music 1:50:27-1:52:22 = D2, T11, 0:00-1:56 1:52:22-1:54:17 = D2, T11, 1:55-3:51 1:54:17-1:54:26 = unknown music 1:54:26-1:54:40 = D2, T11, 3:57-4:11 1:54:40-1:55:18 = D2, T11, 4:08-4:46 1:55:18-1:55:30 = D2, T11, 4:51-5:02 1:55:30-1:55:55 = D2, T11, 5:04-5:29 1:55:55-1:55:59 = D2, T11, 0:02-0:06 1:55:59-1:56:15 = unknown music 1:56:15-1:56:21 = D2, T11, 5:27-5:32 1:56:21-1:56:49 = D2, T11, 5:36-5:54 1:56:49-1:56:56 = no music 1:56:56-1:58:56 = D2, T11, 6:14-8:14 1:58:56-1:58:59 = D2, T11, 5:24-5:27 1:58:59-1:59:48 = D2, T11, 8:14-9:03 1:59:48-2:00:09 = D2, T4, 0:31-0:52 2:00:08-2:00:40 = D2, T12, 0:01-0:34 2:00:40-2:01:34 = D2 T12, 0:29-1:22 2:01:34-2:04:36 = D2, T12, 1:34-4:37 There is a noticeable edit at 2:03:41 (right where the Imperial March begins a sustained high C is present in the soundtrack, but missing in the film), suggesting a different take was used than the one on the soundtrack. 2:04:36-2:07:20 = D2, T12, 3:42-6:25 It's not very often that two of my analytical interests coincide, however this afternoon I discovered an intriguing (although no doubt coincidental) similarity between John Williams' Star Wars main theme and the Beatles' "She's Leaving Home". I have a distinct recollection of sitting in a theory class taught by Dr. Stanley Kleppinger as a sophomore at Butler University in which he pointed out the fact that in the Star Wars main theme, the second scale degree resolves not down to the first scale degree, but rather up. This is most unusual because 2 is such a strong tendency tone, having a very potent tonal pull downwards to tonic (scale degree 1). In Star Wars, however, this pull is thwarted by the jump a minor seventh up to tonic rather than the step down to it, as indicated in the example below with a blue line. This unconventional resolution helps provide the theme with a sense of heroism - a feeling of overcoming obstacles, just as the melody overcomes the descending harmonic tendency.
Since that class, I have been on the lookout for another such example, and some eight years later I have finally found one: Paul McCartney's "She's Leaving Home", off of Sgt. Pepper's Lonely Hearts Club Band. While in different keys (and thus using different tones), I have helped show the similarity by including scale degree numbers above each note. "The Throne Room", which concludes A New Hope, shares significant structural similarities with American marches (a la John Philip Sousa). Marches typically follow a six-part formal layout: Introduction - brief, fanfare-ish, and often in unison until a cadence at the end 1st Strain - the first melody, repeated immediately 2nd Strain - the second melody, builds slightly in intensity, repeated immediately Trio - a section of repose (lower intensity), key change of +1 flat Dogfight - intense and harmonically unstable section, to be resolved by the... Grandioso - the climax, often repeats back to the trio/dogfight the first time Of course, not every march follows this structure exactly, but this is the basic template. Let's use perhaps the most famous march ever composed as an example: "The Stars and Stripes Forever" by John Philip Sousa. 0:03-0:08 Introduction 0:08-0:23 1st strain 0:23-0:38 1st strain, repeated 0:38-0:54 2nd strain 0:54-1:10 2nd strain, repeated 1:10-1:40 Trio 1:40-2:04 Dogfight 2:04-2:35 Grandioso 2:35-2:58 Dogfight, repeated 2:58-3:30 Grandioso, repeated Now compare that with the formal design of "The Throne Room". 0:00-0:17 Introduction - C major 0:18-0:34 1st strain (Force theme) - F minor 0:34-0:48 1st strain repeat (add trombones) - F minor 0:48-0:56 Transition (based on the introduction, but a perfect fifth lower pitched) 0:56-1:12 Trio - D-flat major 1:12-1:29 Main theme, part b - D-flat major 1:29-1:46 Grandioso - D-flat major "The Throne Room" uses a very simplified version of the march structure, but it is clearly related. Both share opening fanfares that start in unison, a repeated first strain, a transition to a trio with a key change of one added flat, and conclude with a grandioso. That being said, of course, there are also obvious dissimilarities. "The Throne Room" omits the 2nd strain entirely, along with the dogfight. Instead, the 1st strain and trio are separated by a transition based on the music of the introduction; and the trio and grandioso are separated by the secondary part of main theme, the melody of which is then repeated as the grandioso. That transition from 1st strain to trio (which in terms of structural function replaces the 2nd strain) is worth a close look. The first two measures of the transition are identical to the first two measures of the introduction except for the fact that the transition is based on F while the intro is based on C. The transition then abbreviates the introductory fanfare by jumping straight to a secondary dominant (A-flat 7 functions as a V7 of D-flat) in the fourth measure, which functions both harmonically and structurally as the impetus for the traditional key change of one added flat at the trio. In other words, both the intro and the transition conclude with dominants requiring resolution, but in different keys. Although much of "The Throne Room" follows traditional march tonal designs, one aspect that is somewhat unconventional is the fact that the first half is in minor. The majority of marches are in major the entire time (with the possible exception of the dog fight). Even so, there are some notable precedents, perhaps the most famous being Sousa's "The Gladiator March". Lastly, although the term "character" is far more subjective than tonality and structure, there are several other marches that share similarities with "The Throne Room" in terms of character - that dignified, noble, heroic quality that makes "The Throne Room" such effective music at the conclusion of A New Hope. Sir William Walton's "Crown Imperial March" (the name of which would obviously influence John Williams' score to The Empire Strikes Back) is perhaps the most obvious such example. (Notice how the very first notes are remarkably similar to the secondary main Star Wars theme, as heard in "The Throne Room".) Another such example of similarity in musical character is "Orb and Sceptre" by the same composer. (Note how it opens with a trumpet fanfare, quite similar to "The Throne Room".) To summarize, then, John Williams' "The Throne Room" combines elements of formal and tonal designs of American marches (as seen most notably in John Philip Sousa) with the majestic and regal character of English marches (as heard most notably in Edward Elgar and Sir William Walton).
Two of the more important musical elements of "A New Hope" are the Main theme and the Rebel motif - and they are clearly related. At the end of the first phrase of the Main theme are the chords A-flat, G, and F. These same chords are used near the end of the Rebel motif, indicated in the graphic below with red lines. Furthermore, the chord progressions used throughout the Rebel motif are identical to the one borrowed from the Main theme. The technical description would be two major chords, the latter a minor third lower pitched than the first. In the Main theme, the G chord functions as a neighbor chord; and in the Rebel motif, the G chord functions as a passing chord, which is to say that in both instances the G chords are of secondary importance. Rather, the chords of primary importance are A-flat and F - and there is the seminal pattern of two major chords where the second is a minor third lower. The Rebel motif then takes that descending minor third and uses it a total of four times (as indicated below with red boxes) - thrice from F to D, plus the A-flat to F borrowed from the Main theme. Lastly, also notice that the final two boxes overlap - the F serves as both the bottom of the progression from A-flat to F, and as the top of the progression from F to D.
All of this is to say that the heroic Main theme is strongly related to the Rebel motif. In other words, from the music alone we know that the Rebels are the "good guys". |
The Music of Star WarsThese posts will help focus and develop my analyses of John Williams' film scores. Archives
December 2019
Categories
All
|