Because John Williams is, without any doubt, a great composer, thinking and building, but above all living the music he writes. In The Force Awakens, I heard ^4 harmonized by major flat-II (Neapolitan), which I hadn’t heard elsewhere in Star Wars. I would therefore say that such a use of chromaticism in Williams’ Star Wars scores is generally for the purpose of creating particular emotional expressions, whether it’s the benevolence of Yoda, Rose, and the boy Anakin through their themes’ use of the Lydian II# chord, the longing quality of love through the minor-mode iv and ii chords heard in Leia’s theme, Han Solo and the Princess, and Luke and Leia, or most famous of all, the twisted evil sound of the minor bvi chord in a minor key heard in Vader’s theme. HTML tags allowed in your comment:
. The Force theme packs a lot of meaning into a very small space. 2
Its melody has the contour of a “struggle” and strives to reach a hard-won climax. 2 available keys. Are there other youtube videos with that excerpt? ), Some of the linked videos have been removed. Anyways, as an individual who owns hundreds of soundtracks and 20th century classical music albums, I’d much more interested in reading analysis on non-mainstream/non-Hollywood film music. But it’s not all doom and gloom in this theme. It all depends on whether one has the whole theme in mind when hearing it. So, no, I do not agree with the person who feels you may be possibly wasting your time with such common scores (Star Wars, for example) such as are found in popular films. Did you find this review helpful? I think we understand this theme’s meaning in the same way. I found replacement clips and updated the page. This song is in Drop C. I'm sure there are other harmonies here and there. This is likely why the chord is frequently heard in the themes of superheroes, Elfman’s and Zimmer’s themes for Batman being other examples. I think this is a sad thing. Again, the theme seems to want to rise higher to the fifth and beyond, but somehow it just cannot—it’s struggling hard to make its way up the scale. At the end of the theme’s third idea, the climax emerges over another major chord, VI (see above example). It is such a pity John Williams never published such an important version of the Force Theme leitmotif in his Concert suites.