Jurassic Park Piano Notes Letters
Jurassic Park Piano Notes Letters – Franchising. The film emerged from its opening weekend with a decisive win at the box office. On the other hand, critics were less impressed with
, giving it 30% on Rotten Tomatoes. However, music-loving audiences were completely fixed on another “score” – that of composer Michael Giacchino. Giacchino is the successor to the legendary composer John Williams for
Jurassic Park Piano Notes Letters
Franchise since 2015. In today’s Quick Tip, PWJ instructor Joshua Foy will teach you how to play the 1993 John Williams classic
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It is difficult to describe the nature and impact of a film’s iconic theme song. In fact, motion pictures are a huge multimedia cultural artifact that blends storytelling, performing arts, and visual arts. And while an estimated 10.8 million viewers in the country watched
Beyond the big screen. Just consider that Universal Pictures’ short list of advertising partners for
Including Jeep, Barbasol, Dr. Pepper, Keebler, Trolli, General Mills, Progressive, China Glaze and Carl’s Jr. In fact, one social media post lamented that “John Williams’ regal score… has been dropped to a horrible ‘1-7-1’ on any harmonic scenario or setting. ” That just goes to show how recognizable and pervasive the film’s theme is in popular culture. At that point, we just need to know a little bit about the composers that’s the most appropriate thing.
John Williams (1932 – present) was a renowned, multi-talented and highly awarded American composer who has scored over 100 films. In particular, his collaboration with director Steven Spielberg has spawned some of the most iconic cinematic themes in cinematic history, including
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Franchise (1977–2019). John Williams’ far-reaching impact on American cinema is best evidenced by his 52 Academy Award nominations. In fact, this huge achievement is surpassed only by Walt Disney, who received 59.
Michael Giacchino (1967 – present) was an American composer who wrote music for film, television, and video games. In fact, Giacchino’s important cinematic collaborations in the 21st century are comparable to John Williams’ dominance in the 20th century. Giacchino has composed music for
(2009). Michael Giacchino was highly awarded and received the 2010 Academy Award for Best Original Score for his work.
The franchise is as gigantic as a Giganotosaurus. However, Giacchino has received praise for “a very interesting stylistic blend between his own compositional style and the variety of John Williams-y styles.”
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In fact, these piano arrangements are available from the MusicNotes product link located at the bottom of this page. As a composer, Josh shares his unique perspective on creativity and continuity between these two iconic theme songs. But first, take a moment to listen to each of the film’s theme songs, choreographed by the composers themselves. All examples are presented in the key of B ♭ major.
Theme song, Josh draws our attention to the musical elements Williams uses to elicit a sense of awe from the audience. In particular, Williams relies on the major chords arranged in chant textures (SATB) to convey an epic quality. Harmoniously speaking, Williams also borrows from religious music through its prominent use
(IV → I). For example, the plucked sound frequently appears in the hymn to harmonize the text, “Amen.” Williams’ arrangement further references the greatness of the chorus entrance (“oohs”) based on the second statement of the theme. Additionally, Williams uses dot-eight/sixteen rhythms in the melody to give the subject the stature of a fanfare.
Perhaps the most glaring difference in Giacchino’s 2015 theme is that there doesn’t seem to be a 1-7-1 (think: “do-ti-do”) tone box that weaves itself through Williams’ theme. (This motif hasn’t completely disappeared, however, as we’ll see later.) In fact, Giacchino introduces a whole new tone to the song.
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While maintaining a strong continuity with the 1993 theme. A distinctive difference in Giacchino’s theme is that he expands the harmonics table slightly to include a lesser use of minor and descending chords. .
However, it is Williams’ ability to reuse material creatively. Remember, the task before Giacchino was more than simply creating a new and different theme. That would be pretty simple. Instead, he had to create a new theme that would fit into Williams’ existing work. In other words, Giacchino’s theme must be some sort of “child” theme of the Williams theme. They must share the same DNA…and indeed they do!
We mentioned earlier that John William’s theme uses plagal cadences. A chord is a harmonious movement from a minor (IV) chord to a complement (I) chord. The sketch below outlines William’s opening chord progression in B ♭ major.
Next, let’s examine and listen to Giacchino’s opening chord progression. The sketch below shows that Giacchino’s thread contains the same plagal DNA as Williams’ theme.
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The title track is punctuated throughout with a dotted rhythm, often moving in a step-by-step motion. The following excerpt illustrates this melodious character.
To create a new, “kind of” theme, Giacchino skillfully weaves rhythmic breaks throughout his melody. Note the similar usage of the step-by-step motion in the excerpt below.
The only identifying feature of John Williams’ themes is the striking 1-7-1 melodic motif. The excerpts below highlight this melodic cell in the context of Williams’ writing.
. To include this motif bluntly would be tantamount to writing the board. However, this melodious gesture is so embedded in Williams’ original work that it begs the question — can you really have a
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Giacchino’s solution was to include paragraph 1-7-1 while delaying its appearance for as long as possible. In fact, this melodic cell is the last three notes of the Giacchino theme.
We noted earlier that Giacchino follows Williams’ use of a dotted rhythm with a step-by-step movement. However, there is another melodic shape on the dotted 8/16 span that Giacchino reuses from Williams. It is the shape of a descending triplet. Consider the following tune from Williams’ theme:
Giacchino’s multi-factor descending triad pattern arrangement is certainly different from Williams’s – you could say even “camouflage”. However, the similarity is unmistakable.
The theme song, the motif is not his original. In fact, this motif can be traced back to “Bugler’s Dream” (1958) by French-American composer Leo Arnaud. ABC began using “Bugler’s Dream” in the broadcast of the 1964 Summer Olympics in Tokyo, and the tune became widely known as the “Olympic theme,” at least for a while. Later, John Williams was commissioned to compose a new theme song for the Summer Olympics in Los Angeles in 1984. The tune was completely different: “Olympic Fanfare and Theme”. In 1996, however, NBC combined Arnaud’s and Williams’ productions to broadcast the Summer Olympics in Atlanta. This tradition continues to this day.
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The motif from Arnaud’s “Bugler’s Dream” to which Williams and Giacchino referenced contains a specific melodic shape that occurs when the harmony moves from I to V. The shape of the motif is a jump down afterwards. is a step up. In the case of Arnaud and Williams, the melody stage has 3–1–2 period tones in the key, where the V chord is arranged in the 2nd degree scale. Giacchino’s usage has the same shape but uses sound stages 4–1– 2 instead. The following clips separate the “Old Man’s Dream” motif from each section.
Taken together, Giacchino’s choice of chord progressions, rhythmic gestures, and melodic shapes allow the audience to experience the latter not so much.
Williams and Giacchino both created an iconic and enduring theme song for the film. As we have seen, no composer approaches the compositional process in a vacuum. Instead, their subtle instincts are triggered by appropriate reverence for their predecessors, both recent and past.
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Michael LaDisa graduated from the University of North Texas with a major in Music Theory & Composition. He lives in Chicago, where he runs a private teaching studio and performs regularly as a solo pianist. His educational work with students has been featured on WGN-TV Evening News, Fox 32 Good Day, …
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Music Makes The Hunt Go ’round
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Smartsheets uses the Soundslice sheet music player to give students digital access to all lesson arrangements and tracks. Smartsheets provide audio playback, key notation, transposition, repetition, and other learning tools.
Theme From Jurassic Park
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