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Inspiration[ edit ] The scores utilize an eclectic variety of musical styles, many culled from the Late Romantic idiom of Richard Strauss and his contemporaries that itself was incorporated into the Golden Age Hollywood scores of Erich Korngold and Max Steiner.
The reasons for this are known to involve George Lucas's desire to allude to the underlying fantasy element of the narrative rather than the science-fiction setting, as well as to ground the otherwise strange and fantastic setting in well-known, audience-accessible music.
Indeed, Lucas maintains that much of the films' success relies not on advanced visual effects, but on the simple, direct emotional appeal of its plot, characters and, importantly, music.
A Space Odysseyitself a major inspiration for Star Wars. Williams, however, advised to form a soundtrack with recurring musical themes to augment the story, while Lucas's choice of music could be used as a temporary track for Williams to base his musical choices on.
Williams often composed the music in a heroic but tongue-in-cheek style, and has described the scored film as a "musical". One technique that particularly influenced these scores is Williams' use of the leitmotifwhich was most famously associated with the operas of Richard Wagner and, in early film scores, with Steiner.
A leitmotif is a phrase or melodic cell that signifies a character, place, plot element, mood, idea, relationship or other specific part of the film.
It is commonly used in modern film scoring as a device for mentally anchoring certain parts of a film to the soundtrack. The more varied and nuanced the use of leitmotif is, the more memorable it typically becomes.
A good example of this is the way in which Williams subtly conceals the intervals of " The Imperial March " within "Anakin's Theme" in The Phantom Menaceimplying his dark future to come.
Also important is the density in A summary of thematic progression leitmotifs are used: Film music, however, typically needs to strike a balance between in terms of the number of leitmotives used, so as to not become too dense for the audience being preoccupied with the visuals to follow.
Several of his later themes were released as singles and music videos, and were later released a collection of suites from the six films as a compilation that played to a series of clips from the films, with sparse dialogue and sound effects.
These became the basis for a series of hour-long concerts which featured Star Wars music to images from the films, Star Wars: In Concertwhich took place in and The scores of the first trilogy in the form of its Blu-Ray Special Edition release and The Force Awakens are performed as Live to Projection concerts, but with greatly reduced forces.
The performances follow the music of the finished film, with some of the music looped, tracked or omitted entirely, and do not feature any of the diegetic pieces and often omit the choral parts.
The orchestration is not consistent throughout the different films,  but generally the score makes use of a considerable brass section over a comparatively smaller string section, giving the series its heraldic, brassy sound.
Several of the scores require larger forces, including a large over piece romantic-period orchestra, a mixed choir and even a boy choir, although none of the scores call for particularly immense forces compared to larger film or theater works.
The former called for a third harp and fourth bassoon, while the latter and all prequel scores utilized a fuller string section. Revenge of the Sith also utilized a second set of timpani.
Comparatively, the original Star Wars trilogy and the sequel trilogy films call for much smaller forces of as little as 82 players, and small choral accompaniment in select cues.
In live performances, the forces are usually greatly reduced: Official Star Wars Concerts were held with as little as piece orchestras and piece mixed choral ensembles or with the choir omitted altogether. The multiple installments allowed Williams to compose some fifty themes and counting and reprise some of them extensively, continually developing them over a long period of screen time.
Williams introduced a few themes in each episode six themes on average and focused on making each of his principal themes long-lined and melodically distinct from the others so as to increase their memorability. Williams occasionally forges small connections between some of these themes, sometimes for a narrative purpose and sometimes in the more general favor of cohesion.
This technique allowed him especially in his scores to the first trilogy to have each theme play out for a large number of occasions the Force Theme plays over one hundred times in the series and over long periods of time.
Each score can be said to have a "main theme", which is developed and repeated frequently throughout the film, often to unusual extents such as the frequency in which The Imperial March is revisited during Empire Strikes Back. A main theme for the franchise exists as well which is the music of the main titlesbut a main theme does not exist to represent a particular trilogy.
Instead, each trilogy and to a lesser extent, each film has its own style or soundscape. Shore and Wagner's themes are also inter-related and arranged into sets of subsets of related themes through various melodic or harmonic connections, whereas Williams prefers greater distinction between his themes.
For instance, the theme for Luke Skywalker is also used as the main theme for the entire franchise, as well as a generic "heroic theme" in conjunction with various characters without any connection to its namesake. Princess Leia's Theme is used for the death of Obi-Wan Kenobi in the original Star Wars, which has little to do with her character even though she is present in the scene.
Multiple uses of the Force Theme are also non-thematic. It is also used for R2-D2's heroics during the opening action scene in Revenge of the Sith.
|Leitmotif - Wikipedia||Macduff's reaction to the news of the murder of his family.|
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|Music of Star Wars - Wikipedia||Classical music[ edit ] Early instances in classical music[ edit ] The use of characteristic, short, recurring motifs in orchestral music can be traced back to the early seventeenth century, such as L'Orfeo by Monteverdi. Their use, however, is not extensive or systematic.|
|urbanagricultureinitiative.com: Allegiant (Divergent Series) (): Veronica Roth: Books||Posted on November 19, by Melanie Anne Phillips Even when a story has memorable characters, a riveting plot and a fully developed genre, it may still be coming apart at the themes.|
Kylo Ren's secondary theme, meant to evoke his more conflicted side, but since he quickly makes his allegiances clear, its generally used in tandem with his fanfare to evoke his menace, instead.
Even the melodic connections between some of the themes sometimes do not represent a straightforward dramatic purpose, such as the connection of "Across the Stars" to Count Dooku 's motif and the Battle of Geonosis in Attack of the Clones. In fact, Some of Williams' themes are written from the outset purely to convey a certain mood rather than evoke a character or setting, such as the Throne Room music of the original Star Wars or the Pursuit motif from The Force Awakens.
Some of this music was re-tracked into other parts of the film, or even another film in the series, by the filmmakers. Attack of the Clones, the first film to be shot digitally, had major edits made after the scoring process, leading to the inclusion of tracked music over many of the digitally created sequences such as the Droid Factory on Geonosis or the Clone Army's arrival to the battle.
These scenes used music such as Yoda's theme or incidental music from The Phantom Menace with little dramatic connection to what is occurring on screen. In the original Star Wars, some of the music for the Death Star's Trash Compactor scene was used over an extended shot of the arrival into Mos Eisley inserted in the film's Special Edition.
Musical similarities exist between the final scenes of The Phantom Menace with Finn's confession to Rey in The Force Awakens, probably a result of temp-track choice.Primary PSHE Resources.
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