John Williams & Star Wars: Wie komponiert man ein cinematisches Orchester im Stile von John Williams

this video shows you how you can compose

john

williams

style movie table orchestra compositions from a blank sheet of paper to finished music production yourself have fun moin moin and welcome to this channel here you will regularly find all about music theory composition and fix if you will always stay updated don't forget to leave a subscription and like at the end of the video and if you liked this video today's video will be divided into two parts one the composition of our orchestra finished in news corp and then we want to produce this orchestra in Cubase part 1 part 2 today for part 1 both parts of this video series of course I will always share in chapter 1 and chapter overview you can easily jump from one topic to another. to the theme in the first step if we choose a characteristic short sequence of tones for our part a and b we invent a composition or we should

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t writing a harmony sequence or a chord progression this video is about leitmotiv technique so a composition technique of many, for example, in addition to the courage technique, mickey mouse punctuation and counterpoint you also offer to work directly with motifs here and

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t with motifs and not short harmony sequences and what you see here is also the first motif i wrote for the composition a motif is the smallest biological unit in a composition and that provides the full recognition value of a respective part of a composition and in this case i have assigned this motif to the hero it becomes the leitmotif of the hero in the composition must be played by the trumpet in B flat and the horn sounds and the reason like this and in the theme what we do then write we will see this motif later it will develop more like m motif for part b i wrote such a lovely motif that it should run and then it should be played by the strings of the flute and glockenspiel also a subordinate rhythmic motif should always appear as part of the composition that should represent danger in the piece that we today only use this rhythmic motif to develop if you then write other pieces related to this piece then you can write your wonderful suspension from it and it could sound like this for example and also develop accordingly like the fourth and last motif A sequence of melodies was chosen for the composition, which is already provided with chords here and this sequence of melodies together with the harmony are meant to express hope.

This sequence of melodies also carries this sequence of tones into a part of the composition. in the next step i took my motifs and finished them i wrote melodies to the h motifs But the motifs developed and varied further and linked together when the melody was finished. You don't have to do that. When the melody is finished, you can also do it during the process. the theme includes 16 bars where this bar is not counted this should be the prelude to start the theme and there is a part consisting of eight bars that is available here and a btl consisting of eight parts can recognize our hero's motif very well here here Do you see an excerpt from this first motif that I introduced to you earlier and it's introduced by this set of triplets, which is very fitting because I already had a descending set of triplets in the middle of my first motif and it leads the first motif alongside it with the ascending trio in an E flat major group the whole thing now varies the next few bars similarly always start with a The triplets group varies slightly and here too you can see that we no longer have this descending fifth space but instead from a fifth down, it skips a fifth up from thomas the set of triplets the reason is here at this point also varies the city. ​now open and then we reach a little climax here on the mountain the next four bars I repeat all over again with the same melody sequence however I have changed something here in the harmony a little more chords appear here and here it becomes like a a bit of march music this piece also has march elements and they are at this point then it goes to part b and here you can see the motif of part b we just saw in this system the beloved theme which i develop further here and then I repeat again below, however, as a small variation, now I have written a subtle one here and then, hidden here in this hopeful motif that leads again in part, we look next at the chords that I wrote and transposed everything to C major so that all the theory of harmony is also technically understandable for everyone and here you can now see this harmless little melody transposed to C major and therefore recognizable to everyone now you will always we have cdu as the tonic here we always find f major as the subdominant and we have edu here as the dominant i also have a bit with sophia and two the chords worked seeing when sir in clear as the sketch why they were offered in the next four bars in the ones that the motif was repeated again it was worth it the way it was worked up there see now i have here a bass dropping written cdu then it goes to c major over the note b plus to co2 over a the bass drops so more type cs2 over g fail len so in the bass chg and then it ends in the fc 2 then goes further down embers c major chord over the baton ec2 chord over the best d c major chord with what you're doing and again further and bewag place with the baton b from here, from there, up again to touch up c to die to e and then we finish on a G major chord. major chord here which will be yes don't go at all we have the note b in a C major scale in the 7th step and not the note b and on this note we can build a diminished minor chord from the notes hdf and just no amount place the place bewag is but the double sub dominant in the key of C major and the B major chord is also part of the backdoor progression and is also often used in film music as a single chord in this context here we have b major is often used with her r of the rings in the companion theme there you don't hear it much with exactly these chords but it is precisely these graded chords that are used the video for the backdoor progression and the video for the double sub dominant is also linked again in the info card in the beta it starts from the sub dominant of the F major chord here in the form of an f of 9 here is the F major triad made up of the tones 11 a and c but what s major is added without the va tone, so we have a G major chord here again, this f9, then in the A flat major chord, the E flat major chord is the double sub dominant of the key of F major and, instead of storing it, it then becomes given which is also a cadence which is very common in film music to achieve a bit of contrast on some then continues with an F major chord over the bass of the craftsmanship raised by a semitone to the B major triad we had up here and the listener is now used to it and this b major three sound then transitions to a G major chord, in this case through h, so it goes up a half step like here in the buzz, then back up a half step again, leading to the chord of B major cdu over G like you with fm bass and at the end we finish in the G major chord of the C major dominant and from here we return beautifully to the beginning of the composition we will hear everything again immediately ato this is what it looks like and transposed the way we will work with it for this the key is tour we have the tonic estore the astra sub dominant and the b flat major dominant plus we have here like an altered major chord down the 7th degree from the first the destor chord and here we just have in our guest chord that goes to B flat major and now everything sounds like this the next step now could be a piano sketch and this piano sketch now also includes what the rest of the orchestra includes the rest should be played by the small musicians who do not play the main voice and that gives a good rhythmic accompaniment and if you remember this dangerous motif at the beginning, then it is exactly this rhythmic motif that appears here, it is also quite striking here that my motif was chosen in In this way, from the beginning I always have spaces here, but before the melody develops further and the motif develops further, and in these pauses there is always this passage e rhythmic in the middle which is also very characteristic of main themes like indiana jones on the star

wars

main theme which is also there and with superman i think its intact down here as well 6 by repeating the part it should all sound a bit more like a march so i adjusted the rhythm accordingly and now it looks like this and ends here so for part b i just have the individual chords as a whole note n written here the strings should accompany everything afterwards and it should settle down a bit to that there's not as much rhythm here from the rest of the orchestra and from this piano, so I could already arrange the individual parts for the whole orchestra is enough for me here, but not yet, and I'll show you another step on how to get to your orchestral writing in a more clearly defined way, that is, with the orchestra sketch, an orchestra sketch is nothing more than an essential abridged score of the individual essential compositional elements of a to work and here you can see an orchestra sketch for our composition that we are looking at right now many composers work with these sketches and also start right here to make it your first step enter your melody here enter rhythm here and

john

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also works with those sketches and that has the advantage l that other people working on this work can now relatively easily see what the composer wants and then they can fix everything further because here really all the information is already included and the composer kallas then confirms it or do you want improvements because especially nowadays it's in film music for whole companies to work around the great film music composers and then keep arranging, producing, developing the sound until finally a finished work is created, first we listen the sketch of how it sounds now in news corp with the most important elements, so I heard two errors, but that shouldn't be so bad now, i'll correct them later, it's not that important now, but also the first sketch goes to the people who then correct it if there are mistakes and ask and say you should the place really be like that or you you got yourself there maybe you made a mistake or you made a mistake and you just heard that's why at this point with this sketch you shouldn't have any problem transcribing the individual parts shown here to a full orchestra, for a side, see how clearly we note it moderately. in the middle, what the majority of the orchestra is supposed to play, we see a detonator here, the notated parts and the respective musicians are also given here, who are supposed to play here, we start here with a dot sato and you do it for the whole orchestra. plays this huge B-flat major chord and I've already pre-arranged the bd, d and f notes here for my orchestra in their individual triad pitches, then it's stated that the brass instruments should only play now, here comes a fanfare, not even i have the fanfare here in this video spoken, i'll leave it as it is for now because i think i just write very very little People nowadays fanfares if you want to see a video about fanfares and how to write them please write me in the comments here , so now the brass play the fanfare in this case, horn, trumpet, trombone and tuba, then they should continue. these individual parts are now distributed among all the musicians in the orchestra, so the melody is going to be played with trumpet and horn, I didn't write that here and the rest of the orchestra is also distributed, this rhythmic is also here.

You also see an instrument up here that Nolan will play here later on and that's the harp. I wanted to have a concert harp here which is quite appropriate if we're writing in the style of John Williams because he always uses the harp a lot in his pieces and for the harp I just have scale runs and from it goes the calculation of chords, the ones that coincide with the played chord are changed here in this case if you don't bother to change chords here we talk about an ostinato here a chord is played on top of the remaining chords that can vary down here in the composition up here we already find the most essential elements of the composition in terms of harmony and melody here below I have then they have a lot of fun with the rhythm Expressed and written what the bass drum and cymbals are supposed to play, the Bb part too it starts with an ascending scale with the scale of the harp and here I said yes here I just want to have the piccolo flute and the strings and here I have it so the individual voices too They are also distributed among the strings, here the main voice is activated once and then the respective chords below, how they are going to be arranged on the individual strings, after more or less and when we have already made such a sketch for our own composition in News Chor we can, of course, wonderfully copy individual voices from this sketch and insert them relatively quickly into our orchestral score to arrange our entire orchestral piece very quickly, and that's the purpose of a composition sketch I already have everything I have written downto write down here I only have to distribute it and thus save a lot, e.g.

Since I was able to listen to it again before, especially when I was composing for news corp. It's also easier for me at this point to find it if I typed something wrong somewhere if you want to do a composition or an orchestral sketch. yourself, then in Moscow, you can just click create a new score and then enter the information you want or leave it, that's not so important here, go to select instruments, it's up to you to decide that the classification should be orchestral and the respective instrument groups from which you would like to use for your sketch which for example here strings woodwinds and where we have them brass instruments and then you can also add percussion disney race german germany depending on how detailed it should be a sketch and last but not Less here nor the harp then you move on there it has the appropriate note you want to notate the bars on it has an open open time it must be there or not or if you don't even know it and a tempo or not and then you have your sketch where you can notice that everything is a bit easier in continuous view and here the risk of doing something wrong somewhere is less because you just don't feel before overwhelmed by the fact that many of the individual elements of the score are still relatively few and here you can see the complete finished composition and you can do it by opening an orchestral score news co has already preloaded everything and you can find something like that in orchestral or orchestral and then you'll find sheet music for classical orchestra, symphony orchestra and string orchestra here, but you can also adapt everything if you want to add an electric guitar or any big choir.

I got this sheet music relatively quickly. I did it by simply transferring the respective parts of the composition and then distributing them to the respective instruments. When transferred from composition or orchestra, it goes to the final score. Sometimes everything makes sense in the score to work with excerpts. Type that just write a little excerpt for each orchestral group, woodwind, veneer, percussion and strings, it works like this, click on the file and then click on the individual excerpt and then call it my because of the strings, then you will see the strings from there also comes the violin harp 1 violins two violas cellos cellos and double basses and then you click ok and then this is created here as a score and here you can work very well on it and work the individual orchestra group b again with the strings, by the way, I've got it now, you added this tremolo in the key b and the key is respectively.

It's divided into three voices that weren't in the composition sketch above, so I didn't play the brass again for she. the flutes play accordingly there are seven bars of rest for the brass here the woodwinds act similar to the strings here you can see these sustained tones back to the beginning and here these thrillers in the percussion I have added a glockenspiel and the glockenspiel plays the melody of the main voice with it simply still a little brilliance to achieve in the heights of the composition and at the beginning of the composition I wrote in the triangle again, in which a tremolo will be played here, that means the percussionist will hit the triangle, so our composition is in the new school Now that it's done, we also have individual excerpts, of course you can.

It's also not necessary to do individual excerpts for each individual musician because we want to recreate the whole year with synthetic instruments and the piece now it sounds like that. We can now export this fully annotated score from News Corp and to a digital audio import workstation, e.g. cubase logic pro tools or also in the free program fl player and edit it there to get a wav file or an mp3 at the end for example with a respectable recording of a virtual orchestra that sounds very very close to reality this video has Already reached to a certain point, in the second part we will deal with the processing of this score in a digital audio workstation, which should be available in about a week or two after this first part. , short and long videos on the topic of harmony theory and music theory, etc., subscribe to je like this channel to stay updated click like if you liked this video if you have any questions or comments write it on the comment section i will reply to dart i say thanks for watching and see you next time