). Thanks for the kind words. Someone was asking about the penultimate chord of the A theme (the F#7), saying that was the only one that didn't fit a traditional analysis. I believe that “Hedwige Theme” is plagiarism. In the years leading up to the talkie, music for movies was often played from anthologies full of cues composed for various emotions and images. mbI find the opening of the melody strongly reminds me of another piece, but can’t put my finger on what that is. And then Williams toys with it. We can never get too much John Williams analysis.Great analaysis, although the instrument here is a synth celeste - played by Randy Kerber - not a real one.Great analaysis, although the instrument here is a synth celeste - played by Randy Kerber - not a real one.It's been updated.
In this audio clip, A is heard from the start, B begins at 0:17, A appears again at 0:45, B at 1:01, and A once more at 1:18:Probably the most distinctive feature of the first A section is its orchestration. I think it's just to keep things simpler, most symphonies have their own Celeste. You can post now and register later. Anyway, the comment is worth reproducing here. The goal of analysis is to look at music and determine if there are similarities and differences. I was searching around the web for other analyses of Hedwig's Theme and came across a thread in a music theory forum. I remember an interview with Williams (can't remember which one, sorry) where he basically said that film music is comparatively quicker to write than a piece for concert-hall because it doesn't ask for that strong musical conventions.What I like about JW's film music is that, even though has more freedom in those departments, it still has a very strong musical backbone that stands up to an insightful analysis (as Ludwig's several blog posts brilliantly point out). Especially the three last bars of each phrase. (:Thanks, Stefan! It opens with a solo that combines synthesized and real sounds of the celeste, a keyboard instrument whose keys strike metal bars that sound like small bells. Had Williams given us the actual dominant seventh, the music would have been within the realm of the ordinary. Scores are not the most popular kind of music in anywhere, you know, but I love it and texts so great as yours are difficult to find.
)From the fourth film on, the F natural in the sixth measure was changed to an F-sharp, which spoils the melody for me.Hi Em. (not that unnatural is bad…) Thanks for letting me feel good about myself for having spotted it, hah… Lol, KL.
We began to dismember the great masters.
He was born on 8 February 1932. But the Prologue cue calls for synth celeste.
Great stuff! )This is not a Common Practice piece, so analyzing it with Common Practice concepts and terminology might not be all that illuminating.
We began to murder ruthlessly the works of Beethoven, Mozart, Grieg, J.S. The local symphony here in Anchorage, Alaska has one!I was searching around the web for other analyses of Hedwig's Theme and came across a thread in a music theory forum. The resulting sound isn’t just unusual. (John Williams scored the first three films, but not the later ones. As shown in the example below, the first two bars of the theme outline the E minor chord, and the bass extends the E into bar 5, all of which clearly establishes the key. These same intervals are also heard at the end of the A section in bars 13-15, now with an extra intervening note:Both of the A section’s phrases therefore end with these strange intervals, which helps impart an air of mystery to the theme.Another note foreign to E minor that Williams introduces is A#, the raised fourth scale degree (#4), which first appears in the melody in bar 13. Even so, I would attribute it to his tendency to vary his ideas.Yeah, the B section’s second version (C instead of B) is really hard to nail down when singing it out, cos it’s just so unnatural! Interesting that the two differ.Probably because in live concert settings, a real celeste is used.And thanks for another great insightful analysis Ludwig.Probably because in live concert settings, a real celeste is used.Oh, no doubt. The A section resembles an owl's call, just like Tchaikovsky's music in the Swan Lake resembles swans. Maybe that was a special case, but it seems that synths would be easier and cheaper than a real celeste.
I’m a very enthusiastic on film scores and found your blog reading the Brazilian “Revista Cultura” magazine.
Since the dominant is the fifth note of the scale, it is, in a sense, “high up” from the “ground” tonic note with which the theme began. Maybe it's that there seems to be something kind of taboo about having synthesizers mix with acoustic instruments in symphony orchestra concerts.That's just something the signature editions do. Methinks so. But, in cases like this, the surface similarities seem pretty obvious, but actually, a CPP-based analysis of this piece doesn't really tell us much.
For example, the harmonies at the start of bars 20 and 22 are from a family of chords known as “augmented sixths”, which tend to have an unearthly sound when paired with a sustained tonic note (pedal point) in the bass, as here.
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