Main Title/Rebel Blockade Runner by John Williams Flashcards
list as many melodic features of star wars as you can
-arpeggio like
- anacrusis
- melody ideas repeated by different brass instruments
- leitmotif
- ostinato
- lower auxillary figure
- descending bass
- grace notes
- trills
- parallel motion
- semitone steps
- rising perfect 5th, rising 6th, minor 7th leap, falling 4th
- melodically contrasting b section
- legato
-stepwise
- scalic
- countermelody
- contrary motion
- doubling
- repeated sequential figures
list as many instrumentation/articulation features of star wars as you can
- staccato
- trombones and trumpets
- tremolando violins
- timpani roll
- brass
- leitmotif on high trumpets
- lower strings, bassoons and brass
- snare
- pizzicato
- upper woodwind
- glockenspiel
- horns
- piano
- oboe
- harp
- vibraphone
- celeste
- flute
- violas
- horns
- glissando
- piccolo
give an example of staccato in star wars
- b.2 onwards; repeated triplets
- repeat of main a theme, bar 21
- link section: b.30-32
where is there free imitation between trombones and trumpets in sw?
bar 1-3
give an example of tremolando violins in sw
bars 1-3 and onwards
what is free imitation?
give an example where brass creates a march-like effect in sw
b1-3 combined with steady tempo
how is brass used in b1-3 of sw?
imitation: melody ideas repeated by different brass instruments and march-like
give an example of an arpeggio-like melody in sw
- b2-3
- transition: rapid arpeggio figures b.33-35
give an example of anacrusis in sw
- b1
- b11
what is a leitmotif
give an example of a leitmotif in sw
bars 4 -11on high trumpets- ba ba ba BAA BAAA ba ba ba BAAAA BAAA ba ba ba BAAA BAAA ba ba ba baaaaaaaa
describe the function of the lower strings, bassoons and brass in the main A theme of SW
play punctuating syncopated block chords
describe the function of the snare in the main A theme of sw
emphasises rhythm
describe the function of the upper woodwind and violins in the main a theme of sw
play tremolando chords and an inverted tonic pedal
what is a lower auxillary figure
give an example of a lower auxillary figure in sw
b7
give an example of a descending bass in sw
slightly in the main a theme b4-11
give an example of grace notes in sw
- main a theme, b7, percussion, semiquaver grace notes
describe the run in the main a theme of sw
demisemiquavers, on violins; floruish builds excitement and brilliance
give an example of parallel motion in sw
main a theme, b7 and b10-11
give an example of semitone steps in sw
trill in b8 of main a theme
give an example of a rising perfect 5th in sw
main a theme, bar 4, Bb to F (inversion of a 4th; quartal harmony)
give an example of a minor 7th leap in sw
b5-6 main a theme c to d
give an example of a falling 4th in sw
- a theme: b5 and 6, d to f
- b section: bar 13 and 15
which instruments play the melodically contrasting b section in sw
all strings except double basses, so it is doubled across 3 octaves
describe the function of the glockenspiel in the contrasting b section
picks out important notes
describe the function of the horns, piano left hand, and oboe, in the contrasting b section in sw
play accompanying block chords
describe the function of the piano right hand, harp, and flute in the contrasting b section of sw
reinforce the harmony using triplet figures
describe the melody of the b section of star wars
- a 4 bar idea which is repeated and slightly altered on the second playing
- more stepwise and more legato than a
give an example of a rising 6th in sw
b section: bar 12
give an example of a scalic melody in sw
- b section: bar 18, Bb minor melodic scale
- repeat
give an example of contrary motion in sw
b section: bar 18, Bb minor melodic scale
give an example of a counter melody in sw
in brass, in b section bar 15 onwardsish
- repeat of main a theme has ‘rushing’ upwards scale-like passages in woodwind
give an example of doubling in sw
- melody in b section doubled across 3 octaves on strings
- repeat of main a theme doubled across 3 octaves in violins, violas, cellos, trumpets, horns
give an example of a harp glissando in sw
- repeat of main a theme, bar 29, to link to next section
give an example of a repeated sequential figure in sw
link section: rapidly ascending, in strings bassoons and flutes, bar 31-32
give an example of when the timpani is used in sw
- link section, bar 32: timpani roll
- spaceship appears: bar 42-43 hammers out ominous rhythm
give an example of a piccolo melody in sw
star filled sky section: bar 36-39
give an example of when the vibraphone and celeste are used in sw
star filled sky section: bar 36-41, accompanying the piccolo melody
give an example of ostinato from sw
- star filled sky section: harp bars 46-41
- battle continues and inside rebel craft: strings/lower brass + woodwind play ostinato figure on C bars 51-60
describe the strings melody in the appearance of the planets section
scurrying upwards figures build tension, bars 39-41
describe the function of the woodwind and brass in the transition section
sustain strange unstable harmonies bars 33-35
describe the function of the bass instruments in the appearance of the spaceship section
play low c pedal ff from bars 42-43
describe the overall orchestration of sw
- full symphony orchestra with no electronic effects or synths; unusual but means it wont be outdates (timeless, recalls old-school heroes)
- has traditional symphonic/romantic treatment ie doubling of parts
list as many features of the harmony and tonality of sw as you can
- tonic notes
- inverted tonic pedal
- 7th intervals
- quartal harmony
- Bb major
- non-diatonic chords
- unconventional cadences
- block chords
- Bb minor melodic scale
- strange and unstable harmonies
- pedal
- augmented chords
- arpeggios
- mixing of C major and C minor
- chromatic
- atonal
- 2 chordal figures
- dissonance
- cluster chords
- tritones
- triads
- bitonality
- minor 3rd, perfect 4th
list as many textural/structural features of sw as you can
- free imitation
- regular 4 bar phrases creating an AABA shape
- contrary motion
- orchestral textures
- lighter texture
- accompaniment
- thicker texture
list as many features of the tempo, rhythm, metre and dynamic of sw as you can
- rapid repeated triplets
- quadruple time
- steady tempo
- fortissimo
- triplet
- punctuating syncopated chords
- semiquaver lower auxillary figure on alternate beats
- demisemiquaver run
- contrasting minims and triplet quavers
- mezzo forte
- rhythmic unison
- ritardando
- syncopation
- triplet semiquavers
- crescendo
-pianissimo - homorhythm
- pause
- 3/4 triple time
fast tempo - 160 bpm - poco rall.
describe the overall texture of sw
few use of solo timbres and lighter textures; mostly thickly scored
give an example of triplets in sw
- introduction: rapid repeated staccato triplet tonic notes, bar 1
- introduction: arpeggio-like triplet figures, bar 2-3
- main a theme: contrasting minims and triplet quavers eg bar 4-5, create tension and excitement
- contrasting b section: reinforce harmony in piano RH, harp, flute, clarinet
- link: triplet semiquavers, bar 30-31
describe the tempo of the introduction, bar 1-3, sw
- steady tempo
- poco rall before a section
describe the metre of the introduction, bar 1-3, sw
quadruple time
describe the dynamics of the introduction, bar 1-3, sw
fortissimo
describe the tonality of the introduction, bar 1-3, sw
Bb major
describe the harmony of the introduction, bar 1-3, sw
- repeated tonic notes
- inverted tonic pedal on trombones and trumpets
- 7th intervals
- quartal harmony
- mostly F, Bb, Eb, Ab used in the harmonisation
describe the dynamics of the Main A theme, bar 4-11, sw
- fortissimo
describe the rhythm of the Main A theme, bar 4-11, sw
- punctuating syncopated block chords in brass/lower strings/bassoons eg. b.4-6
- rhythm emphasised by snare eg.b.7
- inverted tonic pedal varied by semiquaver lower auxillary figure on alternate beats b.7
- demisemiquaver violin run b.7
- contrasting minims and triplet quavers eg b.4-5
- rhythmic feels supports strong quadruple pulse
describe the structure of the Main A theme, bar 4-11, sw
describe the harmony of the Main A theme, bar 4-11, sw
- upper woodwind and violins play tremolando chords and inverted tonic pedal eg. b.6
- non-diatonic chord with unconventional cadence
- militaristic low pedal rhythms eg. b. 4-6
- mostly diatonic
- not many perfect cadences; unconventional
describe the harmony of the contrasting B Section, bar 11-20, sw
- accompanying block chords in horns, piano LH and oboe
- harmony reinforced by triplet figures in piano RH, harp, flute, and clarinet
- non-diatonic chord Db major rises a 3rd (tertiary relationship) to F major b.15
- dominant pedal in bass instruments eg b12-13
describe the rhythm of the contrasting B Section, bar 11-20, sw
- rhythmic unison bar 18
describe the tempo of the contrasting B Section, bar 11-20, sw
- ritardando at end, bar 20
describe the dynamics of the contrasting B Section, bar 11-20, sw
mezzo forte
fortissimo bar 18
crescendo bar 17
describe the rhythm of the link section, bar 30-32, sw
triplet semiquaver rhythm
describe the harmony of the transition Section, bar 33-35, sw
- strange unstable harmonies sustained by woodwind and brass
- F minor major 7th with a D in the bass making it a D half diminished 9th bar 33: augmented and diminished chords
- pedal b.33-35
- less statements of real melodic interest, more harmony, orchestral textures, and rhythms
describe the tonality of the transition Section, bar 33-35, sw
atonal
describe the rhythm of the transition Section, bar 33-35, sw
- rapid arpeggio figures in strings
- rhythmic feel changes to a less obvious pulse
describe the harmony of the star-filled sky Section, bar 36-38, sw
- chords and arpeggios in woodwind, vibraphone, harp, celeste and violin accompany the piccolo
describe the tonality of the star-filled sky Section, bar 36-38, sw
- modulates to Cmaj with added Ab
- C majore chords inflected by notes from C minor like Ab and Bb make it rich and vibrant
describe the texture of the star-filled sky Section, bar 36-38, sw
lighter
describe the dynamics of the star-filled sky Section, bar 36-38, sw
pianissimo at first
describe the harmony of the appearance of planets section, bar 39-41, sw
- block chords build up in trombones and horns
- highly chromatic
describe the tonality of the appearance of planets section, bar 39-41, sw
strings and brass in different keys; atonality creates uncertainty and contrasts clearly tonal main theme
describe the harmony of the appearance of the spaceship section, bar 42-43, sw
- low c pedal
- 2 different chordal figures represent imperial forces
describe the harmony of the appearance of the larger spaceship in pursuit section, bar 44-50, sw
- dissonant chords (C and Db, F and G)
- closely spaced cluster chords eg b 45
- tritones (augmented 4th / diminished 5th) of G and Db
- c pedal
describe the harmony of the ending section, bar 51-60, sw
- dramatic triads on brass and upper woodwind
- sustained low c fades in
describe the tonality of the ending section, bar 51-60, sw
bitonal - Db major and Fb (E) major chords over C minor pedal
describe the tempo of the ending section, bar 51-60, sw
fast tempo - 160 bpm
describe the rhythm and metre of the appearance of the larger spaceship in pursuit section, bar 44-50, sw
- ritardando bar 47-50
- fermata bar 50
- 3/4 triple time
- homorhythmic - mixes quavers, triplet quavers, crotchets and rests
